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HISPANIC 


NOTES & MONOGRAPHS 


ESSAYS, STUDIES, AND BRIEF 
BIOGRAPHIES ISSUED BY THE 
HISPANIC SOCIETY OF AMERICA 


PENINSULAR SERIES 

















EL GRECO 


ELIZABETH DU GUE TRAPIER 
Corresponding Member of The Hispanic 


Society of America 


THE HISPANIC SOCIETY 
OF AMERICA 
NEW YORK 
1925 








| Peete NTS 
















CONTENTS 
PAGE 
Introduction: The Greek of Toledo. . 1 


Chapter I 
El Greco in Venice.—The Clovio let 
ter.—Portrait of Clovio.—Rome an 
the Farnese Palace.—The Healing of 
the Blind.—The Adoration of the 
Magi.—The Purification of the Temple 
—Portrait of Anastagi—Saint Je- 
rome.—Portrait of a Lady.—El Greco 
RES We VS es a 7 


Chapter II 
Toledo. The house of El Greco. 
The contemporaries of the artist.— 
The retablo for the Church of Santo 
Domingo el Antiguo.—The Annuncia 
tion. — Pieta. — The E-xpolio. — EI] 


Bape reno CoN O TES eee 



































i LG Ree 











Greco’s quarrel with the Chapter of 
Toledo Cathedral 9s 18 


Chapter III 


The Escorial and Philip the Second.— 
Artists in Spain.—Supposed Portrait 
of Pompeo Leom.—Saint Maurice 
commissioned by the King.—Portratt 
of a Man.—Portrat of a Doctor.— 
Supposed Portrait of the Duke of 
Benavente.— Portrait of Cardinal 
QOutroga.—Portrait of an Old Man.— 
Portrait of an Artist—Portrat of 
Nitio de Guevara.—Portrait of the 
Lady of the Flower.—Portrat of 
Paravicino. — Two miniatures. — 
The supposed Family of El Greco.— 
The son of El Greco.—Francisco 
Preboste’ 2 same 2 eco ee eas 


Chapter IV 

The Burial of the Count of Orgaz 

one ncn aa eg a 63 
Chapter V 

El Greco and Spanish mysticism.— 































ae HIS P A NAG ee 


ora BN .T S Vil 





Christ Embracing the Cross.—Christ 
Bestowing a Blessing—The Cruci- 
fixion.—Saint Peter.—Saint Ildefonso. 
—Saint Sebastian.—Saint Dominic.— 
Saint James the Great.—Saint Jerome. 
—Saint Mary Magdalene.—The Tears 
of Saint Peter.—Saint Francis.—Holy 
Fanuly.—Saint Louis.— Supposed Por- 
Hirai Git ACOMETO. .0. 2s 79 


Chapter VI 


The increasing mannerisms in _ the 
works of El Greco.—The Colegio de 
Dona Maria de Aragon, Madrid.— 
The retablo for the Chapel of San 
José, Toledo.—Glory of Philip the 
Second.—The retablo for the Colegio 
de San Bernardino, Toledo.—The re- 
tablo for the Church of the Hospital 
of Nuestra Senora de la Caridad, 
Illescas.—His work for the Church of 
the Hospital of San Juan Bautista, 
LS ae 95 


Chapter VII 
The characteristics of the last works 


AND MONOGRAPHS | | 












E Li -GeR Eee 





by El Greco.—The Prayer in the Gar- 
den.—The Adoration of the Shepherds. 
—The Pentecost.—The Immaculate 
Conception—The Opening of _ the 
Fifth Seal—Laocoon.—View and Plan 
of Toledo.—Toledo in a Storm.—El 
Greco receives a visit from Pacheco. 
—The inventory of the artist’s pos- 
sessions. — His will. — His death. — 
Sonnet by Gongora in honour of EI 















o © © |@ )e lei) le jen (ee ol 16m lee tae one! 
a a ee ee ee ee ee OR eye Phy eh oh 
oh ee 6 eee ey teers 

© © 8. Je, “ay 0)” ie. Ce) 6, hednes 1a eae 


Ce ee TO a Pa er Pee 


HIS PANT Gael 


ioe ed a 





GEASS 


HOLY FAMILY (New Vork. 
Pivenaaspeiie Society of 


America) Frontispiece 


THE ADORATION OF THE 
MAGI (Vienna.  Katserliche 
GEMIAC GUI ETIE Yo icc ics te ey aes 


THE PURIFICATION OF THE 
TEMPLE (Richmond. Sir Fred- 
PROMEEC OR Oe eee peck ena e's 


Taper URIFPICATION OF THE 
EME ii (New “York. Frick 
GSES) A A 


Po nero VINCENTIO 
ANASTAGI “(New York. Frick 
UA TAINS ba a 

Pobaieall OrewA LADY .(Lon- 
don. Sir John Stirling-Maxwell, 
re RE sy ss co Sosa a 4 5 2 

toe ASSUMPTION OF THE 
VIRGIN (Chicago. The Art In- 
ree eR eee Pe tin, oss. <'s's mg x0 se © 

THE TRINITY (Madrid. Museo 
I FIA Vad eg Lg ih ak os wv aw se 


PLATE 


Payee wh ON OG RA PES 






E- Ls Gone 



























PIETA (New York. The Hispanic 
Society of America). eee 
THE EXPOLIO (Toledo. Cathe- 
Ural) 0. vn cc an eae eee 
SAINT MAURICE = (Escorial. 
Salas Capitulares) .. eee 
PORTRAIT OF AN OLD MAN 
(Madrid. Don Aureliano de 
Beruete.y Moret)- 2.42.20 
PORTRAIT OF “PERNA 
NINO DE GUEVARA (New 
York. Havemeyer Collection).... 
PORTRAIT OF (BRA Seo 
TENSIO  FELIXO SPAR. 
CINO Y ARTEAGA (Boston. 
Museum of Fine Arts)-.. 22a 
MINIATURE OF A MAN (New 
York. The Hispanic Socicty of 
America) -.. 
MINIATURE OF A LADY (New 
York. The Hispanic Society of 
America) 3.4. donee 
THE BURIAL OF THE COUNT 
OF ORGAZ (Toledo. Church of 
Santo Tomé) 2.3 aan 
CHRIST EMBRAUCINGS3 ioe 
CROSS (Madrid. Don Aurcliano 
de Beructe vy Moret)... 
THE CRUCIFIXION. Sia 
Musée National du Louvre).... 


XVIII 


a HISPANT CUNO. 






















XIII 


XIV 


XV 







XVI 







XVII 









Peete tS 


X1 








SAINT DOMINIC (New York. 
The Hispanic Society of Amer- 
Oi Se Ee ee 

SAINT JAMES THE GREAT 
(New York. The Hispanic Soci- 
PE ETC) shines kn Ge a 

SAINT JAMES THE GREAT 
(New York. The Hispanic Soci- 
PERO F SG AINCTICE Vo. ba isdn es « 

SAINT JEROME (New York. 
The Hispanic Society of Amer- 
CaSO A a ae 

HEAD OF SAINT FRANCIS 
(New York. The Hispanic Soci- 
Fl Mie 0 aa) © 2 re 

SAiNe ShOUIS (Paris; Musée 
Waettonal du Louvre).......6..5% 


Cee Ar lism OF CHRIST 
(Madrid. Museo del Prado).... 
THE RESURRECTION (Madrid. 
WE USCOOOCI TT TOGO). vig o6 cis ons 
Dain Le MARTIN AND THE 
BEGGAR (Philadelphia. Waide- 
COU ETON 4 elas bs se us cos o> 
Pores PHILIP . THE 
SECOND (Escorial. Salas Capi- 








PLATE 


XIX 


XxX 


XXI 


XXII 


XXIII 
XXIV 
XXV 


XXVI 


XXVII 


LURES * ca IO XXVIII 


Pree ere CARDINAL 
TAVERA (Toledo. Church of 
the Hospital of San Juan 
DIRE eat! aul. Osta) canes a's 33 8 ase 





AP MONOGRAPHS 











XH EL SG Ree: 








|THE PRAYER IN THE GAR- 

DEN (London. National Gal- 

lery)  ..0. 534, ee XXX 
THE ADORATION») OF +i 

SHEPHERDS (New York. 

Metropolitan Musewm of Art).. XXXI1 
THE IMMACULATE {CONGE. 

TION (Toledo. Church of San 

Vicente) .<. tee XXXII 
THE OPENINGS OF = 

FIFTH SEAL (Parts, Don 

Ignacio Zuloaga y Zanora)....XXXII1 
LAOCOON (Munich. Alte Pina- 

kothek. On loan eee ee XXXIV 
TOLEDO IN A STORM (New 

York. Havemever Collection)... XXXV 












EL GRECO 
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AND MONOGRAPHS | 


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as 





Prec ROE: C O 








INTRODUCTION 


GA GREEKOR- TOLEDO 


Unique in the history of art El Greco 
cannot be easily classified as belonging 
to any school. He has for that reason 
and many others remained a mystery, an 
unsolved riddle as puzzling to the artist 
as to the layman. We are concerned 
here, not so much with the technique of 
El Greco, which, after all, the pictures 
themselves best explain, as with the tem- 
perament of the artist, the effect his sur- 
roundings had upon him, the atmosphere 
jin. which he created his strange and 
beautiful pictures. Born on one of the 
Greek islands, educated in Renaissance 
Italy, and led by chance into the heart of 
Catholic Spain, he reveals in his works 
a forceful and disturbing personality. 


vi 
’ 


bade lu Ver chiens. 


“NN 


Pee ee Le, NOLES i 


Ignoring contemporary opinion, scornful 
of criticism, following no school, he 
stands alone, out of favour with King 
and Court, isolated by his genius, his 
independence, and his stormy spirit. 
Quite comprehensible is his abandon- 
ment of the traditions of the Venetian 
school soon after his arrival in Spain, 
but inexplicable and mysterious are the 
mannerisms which he afterwards devel- 
oped. It is this peculiar individualism 
which has caused the controversy as to 
whether he was mad, astigmatic, a dis- 
ciple of the art of Byzantium, or a 
Toledan mystic. Visible to some extent 
in his earlier works these mannerisms 
become very marked as he reaches his 
last period. The most notable thing in 
this change is, perhaps, his tendency to 
lengthen certain of his figures until they 
are entirely out of proportion, mounting 
into the air like thin vapours. That El 
Greco had mastered the technique of 
figure drawing is not to be doubted. 
Why then did he resort to this deliberate 


HISPAN ICR 





Pel RoE CO 





distortion of the human form? ‘The 
question was answered after his death 


by the laconic designation “mad”. 
Though this idea of his insanity persist- 
ed for many years as a popular belief, it} 
is, of course, without foundation. An- 
other solution of the problem has been 
suggested by the oculists, who now as- 
sert that the master was afflicted with 
astigmatism, a defect which grew upon 
him with his increasing years, altering 
his vision and causing him to draw 
heures of great height and slenderness. 

Il Greco’s elongated, often emaciated 
personages, with their small heads, their 
garments falling in many folds, resemble 
closely the saints and apostles of Byzan- 
tine art, described by Dalton as follows: 
“The clearly outlined figures, their con- 
tours filled with colour boldly massed, 
possess a mystical and superhuman quali- 
ty in presence of which anatomical de- 
fects appear of no account” (1). El 
Greco obtained this same result by his 
disregard of rules, by his elimination of 


PaO NOG RA PHS 





Ely (GtReha 





all trivial details, and by his method of 
detaching his figures from surroundings 
which might distract the eye. The 
Byzantine influence may be traced in 
The Expolio and The Burial of the 
Count of Orgaz, possibly the most 
important two pictures the artist ever 
painted. And so it may be seen that 
though admittedly Spanish in style he 
vet retained the heritage of the art of 
Byzantium left him by his Greek ances- 
tors. Asa child in Crete, as a youth in 
Venice, he must have been impressed by 
the great jewel-like domes of the 
churches gleaming through the dusk and 
incense. The figures, with their rich 
colouring and majestic simplicity, re- 
mained in his memory and influenced his 
hand. Is it surprising that isolated in 
the hills of Castilla he should sometimes 
have turned for inspiration to the reli- 
gious symbolism associated with his 
youth, to the art and traditions of Crete 
and the Veneto-Byzantine palaces? 
Another problem presents itself con- 


HISPANT OS 














Pee eee Lt CO 












cerning the effect of Spanish mysticism 
upon the artist. Sefior Unamuno justly 
asserts that Spain passed through the 
Renaissance without allowing herself to 
become contaminated by its paganism 
and rationalism; that Castilian spiritu- 
ality was mystic, unworldly, and medi- 


of the Renaissance, perceived that 
Italian idealism was unfitted for Castilla 
and would be stifled in austere Toledo. 
He contrasts the “spirituality, concen- 
trated, violent and tormented” of some 
of El Greco’s works with the “pagan 
breath of the Italian Renaissance” (2). 

El Greco expresses this spirit of 
mysticism when he portrays the grave 
Toledans conteinplating with solemn 
rapture the glory appearing in the heav- 
ens above them, or the gentle Christ 
fervently embracing the cross held up- 
right in His arms. His figures seem to 
soar into the air as though endeavouring 
to attain the felicity awaiting them 
among the clouds. 








miro Os RAP ES 





AND 


eval; that El Greco, knowing the Italy| 4 






























EL Gio 


A strange contrast is presented in the 
artist’s work, for although closely as- 
sociated with Spanish mysticism he 
seems never to have escaped entirely 
from the formalism of his race. 





HISPAN CGNO 


I 


Born at Candia in the island of Crete, 
I] Greco from his earliest youth came 
in contact with the Byzantine school. 
Without knowledge of the reason for or 
the date of his departure from Crete and 
his arrival in Venice, it is permissible to 
think that he chose Venice because of 
its colony of Greek artists who were fol- 
lowing the Byzantine tradition. For 
many centuries before El Greco’s ar- 
rival, Venice had taken her culture 
largely from Constantinople and the 
East. The Cathedral of Saint Mark was 
a fine example of Veneto-Byzantine art 
and many of the palaces along the Grand 
Canal showed traces of it in their fa- 
cades. That a strong impression was 
made upon the mind of the young artist 
by contact in his own land and then in 
Venice with the rich art of Byzantium 


Poo OWN OG R*A PHS 





EI Geakwi aa 


is shown by the fact that years later in 


distant Toledo he reverted to it for in- 
spiration. In comparison, the influence 
of the great Venetians, Titian, Tintoret- 


-§., ;to, and Bassano, left but a fleeting in im- 
\print upon his Woe His sojourn in 


Venice was not of long duration, and 
Rome became his next goal. 

The one authentic document in regard 
to El Greco’s life during this period is a 
letter from Julio Clovio, the miniaturist, 
to his patron, Cardinal Alessandro 
Farnese, who was noted tor his love of 
art and literature. It was in the Roman 
palace of this illustrious member of the 
Farnese family that El Greco probably 
spent several years of his life. In the 
letter, dated November 16th, 1570, it ap- 
pears that El Greco, who is spoken of 
as “a young Candian, a pupil of Titian”, 
came to Rome, where he painted a por- 
trait of himself. The painters of Rome 
were much astonished by this work. 
Clovio requests his patron to provide for 


|the young artist a room in the Farnese 


HISPANIC NOTES 





Ppa lee CO 


Palace for a short time, that is until he 
can establish himself (3). 

Julio Clovio was in Rome in 1569, an 
old man broken in health. It was prob- 
ably about this time that El Greco 
painted the portrait of him described by 
Justi: 

“In this portrait the painter is seated 
in front of ‘a plain wall, at the left 
of an open window; with the forefinger 
of his right hand he points to an open 
book, which he holds in his other hand, 
and in which one can see two minia- 
tures; the theme recalls Titian’s Strada. 
Perhaps this book might be the Office of 
the Madonna, a work which took nine 
years of labour, and was painted for the 
Cardinal . . . ‘The face shows a broad, 
high forehead, surrounded by gray hair 
combed back, an energetic aquiline nose, | 
and brown eyes. These features, as 
well as the hands, are of a modeling as 
fine as it is expressive. The delicate 
yellow tonality of the skin and the draw- 
menerecall.;lintoretto most of . all. 


Pe eve NN OG RA PES 








EL Gaia ee 











Through the open window one sees a 
landscape swept by wind, full of light 
and air and glowing in the warm tones 
of a late afternoon, blue sky, distant 
mountains, swiftly moving clouds 
touched with gold; in the foreground 
a frail tree budding with green 
sprouts” (4). 

Both this canvas and the genre of a 
boy lighting a candle were at one time 
attributed to Clovio. Originally in the 
Farnese Collection they are now in the] 
Museo Nazionale at Naples. 

In regard to the portrait of Clovio an 
interesting document was published in 
the Gagette des beaux-arts (1884, v.I1.), 
giving an inventory of the art collection 
of Fulvio Orsini, who died in 1600. It 
is thought that the following numbers 
refer to works done by El Greco in 
Italy: 

““No. 39. A picture framed in walnut 
with a landscape of Mount Sinai, by 
the hand of a Greek, a pupil of Titian 
sssubhdhsneeeetsnareemencenlaneti ee 10 (escudos) 





















HIS PAN DG ee 


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hes « = “a . sir —— 
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asajpbaplpuay ayIyaaswy ‘“puuary 


IDVW AHL AO NOILVUYOGV AHL 





I ALV Id 


Peete ECO 



























ce 


43. A picture framed in walnut 
engraved with a portrait of don Giulio 
miniaturist, by the hand of the above 
INeENntiGiee eee are... 20. 

“ "4a. A little picture framed in wal- 
nut with gold with the portrait of a 
young man in a red biretta, by the hand 
eh ea Ast cpyS.s ol Ge Tele Ge  e 5. 

“ “45. Four circulars of copper with 
the portrait of cardinal Farnese, 
S. Angelo, Bessarione cardinal, and 
Pope Marcello, by the hand of the 
SANIGS cuaeere ee eee eee eo. TO. (5), 
The circular portrait on copper of 
Cardinal Farnese is of special interest. 
Unfortunately no trace of it has been 
found, nor can any of the works listed 
in the inventory be-identified with any 
certainty. 

The same Farnese family who protect- 
ed the young Greek were the patrons of 
Cellini, though they found it expedient 
on occasion to place him for safe keep- 
ing in the Castle of Sant’Angelo. 
Cellini’s Autobiography describes the 













Wishes NO TES 





I2 








Rome of the years just preceding the ar- 
rival of El Greco. Michael Angelo, 
whose death occurred only a short time 
before El Greco came to Rome, de- 
signed the court in the Farnese Palace, 
that court described by Vasari as the 
finest in Europe. It was probably in this 
magnificent palace that El Greco painted 
the three pictures which show most 
clearly the influence of the Venetian 
school upon his work. The first of 
these, The Healing of the Blind (Dres- 
den. Gemaldegalerie), was for a long 
time attributed to Leandro Bassano, the 
resemblance between the early works of 
El Greco and those of the Venetian 
master being_werygreat. The composi- 
tion of this painting and that of El 
Greco’s beautiful Adoration of the Magi 
jA(Vienna. Kaitserliche Gemaldegalerie. 
{Plate I) conform to the best traditions 
of the cinquecento Venetians. They 
are both pervaded by a feeling of spa- 
ciousness, a calm and tranquil beauty. 

A comparison of the various replicas 


HISPA NPGS ie 


































YOO) YIsapasy 415 “puomyory 
ATdWAL AHL AO NOILVOIIGNd AHL 


auoy ‘uossapup *q ydvsBojoyd 





II ALVId 





Peete ety CO 


of The Purification of the Temple is of 
extreme importance because they show 
the inexplicable change which took place 
in the artist’s manner of painting. The 
Cook (Plate II) and Yarborough ex- 
amples were probably painted during his 
first years in Rome. Those in the Frick 
Collection (Plate III) and the National 
Gallery belong to a later period. The 
first two paintings might be attributed to 
Veronese or Tintoretto,,so characteristic 
are they of the Venetian school. In the 
last two examples the great columns of 
the stately palace seem to recede and 
lose their distinct outlines, becoming 
merely a background for the dynamic 
figures of Christ and the merchants. All 
the conventional paraphernalia of dove 
cages and books have vanished. Under 
the arches at the right appears the figure 
of a woman, slender and exquisite, her 
left arm raised in a graceful curve as 
she balances a basket upon her head; 
her right foot advances and she scems 
to sway forward. She is prophetic of 


7) 
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mn, Wh Vor Aw Lati«‘e 
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Jy An. : y™~\ 





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E LD Gakgie ae 


that spiritual type which El Greco was 
to develop later to such perfection. 
What a contrast to the opulent charms 
of the Venetian women of the earlier 
replicas with their uninteresting poses, 
their studied grace, and conventionally 
arranged draperies! : 
Dating from this early period is 
the splendid full-length painting of 
Vincentio Anastagi, governor_of Citta 
Vecchia. during the siege of Malta 
(New York. Frick Collection. Plate 
IV). Anastagi is clad in halt armour, 
on the breastplate of which is the white 
icross of the knights of Saint John of 
Jerusalem. He wears full knee breeches 
of green velvet ornamented with gold 
stripes, and white ruffs at his neck and 
wrists. His buff-coloured shoes are 
adorned with small brown bows, and 
his stockings are white. From his side 
is suspended a sword with a gilded hilt. 
The light from a window in the upper 
left-hand corner of the picture accentu- 
ates the shining armour covering his 


HIS PAN TD CaS 





left shoulder and gives it a green tone, 
placing the whole figure in a harmony 
of greens. A high light is also reflected 
from the morion on the floor. In the 
background is a dark red curtain draped 
across a light brown wall. The face 
with its brown eyes, dark beard, and 
mustache resembles in type many of the 
portraits painted by the artist at a 
later date. 

The portrait of El Greco mentioned in 
Clovio’s letter to Cardinal Farnese has 
disappeared, but another painting prob- 
ably belonging to these years is that of 
an old man with piercing dark eyes and 
a long white beard which has been vari- 
ously identified as Cardinal Gaspar 
Quiroga, archbishop of Toledo, as Luigi 
Cornaro, author of the famous Discorsi 
della vita sobria, and as Saint Jerome. 
The latter attribution seems to be the 
only safe one, as a comparison with 
authentic portraits of Quiroga and 
Cornaro proves. Of the five examples 
of this portrait the signed one in the 


Pee viO N ©.G R APES 





I ly (Ga 





Frick Collection is the most important. 

Beruete describes the portrait, in the 
Stirling-Maxwell Collection (Plate V), 
erroneously known as The Daughter of 
El Greco, as follows: 

“This work has caused many doubts 
and controversies among the critics. 
They agree only upon its beauty and 
merit. The doubts refer especially to 
its authenticity. While some consider 
it without doubt a Greco, others think 
it is only a Venetian work, and we 
are forced, to recognize that) the 
characteristics of this school are very 
marked and definite in this portrait, 
that no one but a Venetian, and I 
even believe that it might be stated 
definitely Tintoretto himself, was the 
author of the work. The colouring is 
very different from that peculiar to 
El Greco even im these eativeycan., 
and above all that touch, peculiarly 
his, that restless brush stroke, nerv- 
ous, vacillating, incorrect if you wish, 
but very expressive and very peculiar, 


HISPANIC NOTES 





U0144I9TJIOD YAY “YAO X MIN 
ATdNAL AHL AO NOILVOIMIENd AHL 
y40 KX MaN “KADAQIT aouasafay YI ayy fo Ksaqanoy) 





Ill ALV Id 


Pee CO 


does not appear here anywhere. The 
portrait of this lady, indeed, has a great 
analogy with the works of El Greco, at 
least in its external part; that close re- 
semblance which this painter has to the 
Venetians, his masters and early inspira- 
tion” (6). 

Why did El Greco leave Italy for 
Spain? Is it possible that Cardinal 
Farnese told him of that summer spent 
in Spain when at the age of nineteen he 
was sent there on a diplomatic mission 
by Paul the Third? Of that Clovio, old 
and infirm, himself“inable to accept the 
invitation of Philip the Second to work 
at the Escorial, encouraged the young 
artist to try his fortunes at the Court of 
the Spanish monarch? 





Pitas boneN El C NO Es 


I 





18 


EL GRE S 





Il 


“Esta es, Senora, la 1wm- 
perial Toledo, 
Que el Tajo de cristal a 
sus pres tiene, 
Y parece que en sombras 
se detiene”’ (7). 
Lifted high upon the crest of a great 
cliff, barren and beautiful, Toledo rises 
like a mirage from the plains of Castilla. 
At her feet the blue Tajo flows beneath 
ancient bridges. Above the closely 
massed roof tops appears the grim form 
of the Alcazar. The narrow streets 
turn and twist bringing up suddenly 
against the great walls of the Cathedral 
or leading to the entrance of some Ara- 
bic mosque. Through doorways 
glimpses of enchanting patios reveal the 
half-Moorish life of the people. Cross- 
ing the wide square of the Zocodover 
one passes under the Archway of the 











HI S' BAN (GC 


Peek TC O 


Blood of Christ and so to the Posada de 
la Sangre, the inn which Cervantes has 
made famous. Across the city in a 
direct line from this inn is the Paseo del 
Trdnsito on the edge of the cliff over- 
looking the ravine of the Tajo. Facing 
this paseo is the Casa del Greco, vine- 
covered and with terraced gardens. 
Many legends are associated with this 
house. It was originally the palace of 
the rich Jew, Samuel Levy, who lived in 
the stirring times of Peter the Cruel, 
and who is supposed to have concealed 
his treasures within its vaults. Accord- 
ing to tradition the same storing place 
was used later for the laboratories of 
alchemy and sorcery of Don Enrique de 
Aragon, popularly known as the Marquis 
of Villena. There has been some dis- 
cussion as to whether the building, re- 


Marquis of Vega-Inclan, is 
actually where FE] Greco lived or if his 
home was situated in another part of the 
Paseo del Transito. 


Peso NeG GRAPHS 





EL Gans 


The house has an inner court with a 
wooden gallery supported upon pillars. 
From this patio a covered stairway leads 
to the small apartments on the upper 
floor. In the little kitchen, with its 
brightly coloured tiles and shelf of old 
cookbooks, is a huge chimney piece. 
\From the upper gardens and terraces 
there is an extensive view of the hills 
where once the high dignitaries of the 
irichest cathedral in Spain owned country 
houses called cigarrales. 

Here among gardens of flowers, rare 
fruits, and shade-giving trees they creat- 
led an atmosphere of repose and culture 
not unlike that known to the fifteenth 
century Florentines.. These prelates 
were the Medici of this proud Castilian 
town, patrons of art and learning, gen- 
erous with the rich spoils which came to 
them. Not only were the archbishops 
interested in art and literature, but many 
of the priests were noted dramatists and 
poets. Here Lope de Vega presided at 
a contest called poetical joustings, in 































HIS PAN PGs eee 








PLATE IV 


MAD ETVRCD 
ave NEL. ASS 
nA 


VAIICHEDEN ROSH 
TROARQWE-ADV 
Oenivionnicom, 
DOPE, VOLE ADL 

MPAQIE DITA 
PVSACENEMAGe 
Daavaaitornnal 


NPIVR AR 
ise 





PORTRAIT OF VINCENTIO ANASTAGI 
New York. Frick Collection 


Pape Ril © O 























1605. Mariana, the distinguished author 
of the Historia de Espana, and an im- 
portant member of the Jesuit order, es- 
tablished himself here in 1574. 

It was in Toledo at the Posada de la 
Sangre that Cervantes wrote the Ilustré 
fregona (ca. 1606) celebrating the vir- 
tues of a Toledan maid. He describes 
her in these words: “She confesses and 
communicates monthly, she can write 
and read, and there is no greater lace- 
worker in Toledo, she sings without ac- 
companiment like an angel...” (8). 
Another contemporary of El Greco, 
Francisco Pisa, writes of the beauty and 
honesty of the women and the ability 
and industry of the men; their devotion 
to the Christian religion “. . . which is 
proved by the great frequency. . . with 
which they listened to sermons and 
masses... making it seem as though 
Holy Week lasted all through the 
year” (9). He gives an enchanting pic- 
ture of Toledo, writing of the fresh and 
subtle breezes which cooled the city, the 


Meo ti NO TES 


Zk 


E LG jhe 


clear and serene sky, and the sweet 
waters of the Tajo. 

Toledo had absorbed the art of Chris- 
tian and Arab alike. The mosque of El 
Cristo de la Luz, the synagogue of Santa 
Maria la Blanca, the Gothic Cathedral 
of the Christian were all representative 
of the architecture of the many races 
which dwelt together within her walls. 
She gave them refuge, wayfarers from 
other lands, but in return, she, the Im- 
perial City, demanded of them the best 
in their art; they must embellish her 
narrow streets with buildings of beauty 
and dignity. She cast a charm over 
mosque and synagogue until they seemed 
part of her, built for her adornment, no 
longer expressive of an alien civilization. 

Did she not have the same effect upon 
El Greco, a stranger from a far country, 
forcing him to reveal the soul of her 
people, to depict her hillsides in their 
austere loveliness? 

So little is known of El Greco’s tastes 
and preferences that it is interestirig to 


HISPAN TOs 








Peewee CO 









come upon an inventory of his posses- 
sions and to discover that he had a good 
library of Greek books including copies 
of Homer, Aristotle, and Plutarch. He 
seems to have brought many books from 
Italy, among them editions of Tasso, 
Petrarch, and Ariosto. He had, besides, 
as many volumes of romance in his libra- 
ry as had Don Quixote. Pacheco testi- 
fies to El Greco’s learning when he 
writes: 

“,... in our century there are many 
learned men, not only in_ painting, 
but in the Humanities ... like Micael 
Angel, by whom we can read many 
compositions in verse, Leonardo de 
Vinci, El Broncino, Iorge Vasari, and 
Dominico Greco, who was a great phi- 
losopher, of witty sayings, who wrote 
about painting, sculpture, and architec- 
ture” (10). | 
In Spain his name was abbreviated to 
El Greco, although he continued to sign 
documents and many of his pictures 
with varying forms of his Greek name, 














eee nO O GRAPHS 





























EY Ls 










Doménicos Theotocopoulos. 

Borja de San Roman states that El 
Greco left Italy under contract to paint 
the pictures for the Church of Santo 
Domingo el Antiguo in Toledo, basing 
his opinion upon the fact that in a law- 
suit over The Expolio it appeared that 
IX] Greco came to Toledo to do work 
,{upon the refablo of this church. But in 





SwIthis same lawsuit El Greco asserts that 











he is not obliged to say why he came 
to the city of Toledo. 

A pious woman by the name of Dojiia 
Maria de Silva had left a sum of money 
for the purpose of demolishing the old 
building and erecting this new church. 
She named as her executor Don Diego 
de Castilla. Documents lately discovered 
prove that, contrary to the prevalent 
opuuon, it was Juan de Herrera, and not 
Vergara or E1 Greco, who was the archi- 
tect of this chirch: 

This retablo of Santo Domingo el 
Antiguo raises the question as to 
whether El Greco was ever an architect 























HISPANL OS 








- 7 
) 
‘ 
‘Oa a 
et 
i) 
% 
i = ¥- 
¥ ge , 


PLATE V 





PORTRAIT OF A LADY 
London. Sir John Stirling-Maxwell, Bart. 


Peer hor CO 


or sculptor. Borja de San Roman thinks 
it most unlikely and gives among many 
reasons the logical one that not one of 
his contemporaries mentions him as )e- 
longing to either profession, adding that 
it was only after his death that they 
were attributed to him. A contract, 
dated September 11th, 1577, between 
Don Diego de Castilla and Juan Bautista 
Monegro, a sculptor of Toledo, proves 
that though El Greco made the sketches 
for the three retablos and the five 
statues, they were actually executed by 
Monéegro. Senor Lampérez y Romea 
disagrees with any statement which 
denies that El Greco was an architect. 
He brings forward as proof in support 
of his opinion the fact that the retablo 
shows traces of Italian influence, that 
the artist’s son was an architect, that he 
had in his library nineteen books on 
architecture, and other reasons equally 
unconvincing. me 

Whether or not one agrees with the 
assertion of Sefior Lampérez y Romed 


fear coae ae NIC NOT Hs 








20 


E L »Gaksiaga 











that the retablo of Santo Domingo el 
Antiguo introduced into Spain a type of 
altarpiece popular in Venice when El 
Greco was there, it is certain that its 
central painting, The Assumption (Plate 
V1), has strong Venetian accents. The 
composition as a whole recalls the As- 
sumptions of Titian and Tintoretto. The 
Virgin is very similar as with out- 
stretched arms she floats upon clouds 
surrounded by angels. She has great 
dignity, even majesty, but her face is 
lacking in expression, and her heavy 
and voluminous robes seem to hold her 
down to earth. She has not ascended 
far above the apostles, who, gathered 
about her empty tomb, seem to be dis- 
cussing matters of interest to themselves, 
showing little astonishment at the 
miracle taking place above them. It is 
only upon remembering an Jimaculate 
Conception painted by El Greco not 
many years before his death that one 
realizes all the spiritual force that 
is lacking in this picture. The other 





HISPAN TCO 












Peer ne © O 












Virgin is a mystic being soaring up- 
wards through clouds of glory, her 
body like a torch burning in a steady 
Hame of adoration, her exalted ex- 
pression almost painful in its fervour.. 

The Assumption of Santo Domingo, 
which is signed and dated 1577, is no 
longer in the church for which it was 
painted. It has been placed in The Art 
Institute at Chicago. Cossio asserts 
that above this canvas was originally 
The Trinity (now in the Prado) (Plate| 
VII) and not The Adoration of the 
Shepherds which has taken its place. 
The latter picture has all the manner- 
isms of the last period of the artist’s 
work while The Trinity reveals its rela- 
tionship with Italy. It is interesting to 
note that Ribera painted a Trinity which 
was certainly influenced, as regards com- 
position, by this one. A _ full-length 
painting of Saint John the Baptist is on 
the left side of the retablo and Saint 
John the Evangelist, another figure of 
heroic proportions, is on the right. 

























Pe OS ON'O.GRAP HS 








Above them were Saint Benedict and 
Saint Bernard (now replaced by copies). 
Cossio is certainly mistaken when he 
dates the Prado Saint Benedict as 
1584-94. It is probably the original 
painted tor Santo Domingo el Antiguo, 
as a comparison with its companion 
piece, Saint Bernard, goes to prove. 
The pediment is broken by two figures 
of cherubs holding a medallion bearing 
a painting of The Holy Face. The 
Resurrection painted for a side altar 
at the left, and still’ in place) shows 
Italian influence. A Veronica and an 
Adoration of the Shepherds are upon 
side altars. ‘ 

Two small paintings have also been 
assigned to this early period. One is 
The Annunciation in the Prado, the 
other the Pieta in the collection of The 
Hispanic Society of America (Plate 
VIII). The Annunciation is more Ital- 
ian than Spanish in sentiment with its 
graceful kneeling Madonna, its Angel 
Gabriel floating upon clouds, and its 





HIS PANG eee 





PLATE VI 





Copyright by The Art Institute, Chicago 
THE ASSUMPTION OF THE VIRGIN 
Chicago. The Art Institute 


Be eRe CO 


cherubs. Once again, and perhaps for 
the last time, El Greco uses as a back- 
ground the long vistas, the archways, 
and tiled pavements so characteristically 
Venetian. 

Theterietas 3iso (adheres to the 
traditions of Italy, conforming closely to 
the composition used by Michael Angelo 
in his Entombment (Florence. Duomo). 
A group of four intertwined figures 
stands out against a blue sky, overcast 
with gray clouds which are suffused 
with a faint pink glow. The central 
figure is the dead Christ, supported on 
His left side by Saint John robed in 
egreen-blue and white, and on His right 
by Mary Magdalene clad in yellow, 
carmine, and blue. Behind the figure of 
the Christ can be seen the head and 
shoulders of the Virgin, draped in blue, 
part of her red tunic visible. Across a 
brown landscape is a hill on which stand 
three crosses, half veiled in overhanging 
clouds. Cossio says of this painting: 

“The Piedad is a small picture full of 


HISPANIC NoTES | | 

































intense dramatic interest, conceived and 
executed in the heroic spirit of the time; 
with the same severe Virgin as in The 
Annunciation, but with an expression 
heart-rending in its grief; the same 
angels and the same Christ as in The 
Trimty, but of more tragic aspect; the 
same tonality as in both paintings, but 
with more carmine reflections; and with 
an execution more feverish and much 
less careful” (aye 

To this period belongs one of the most 
important works painted by El Greco. 
In the book of expenses of the Cathedral 
of Toledo it is stated that on July 2nd, 
1577, he received 13,600 maravedis on 
account for a picture which he was to 
paint for the sacristy of the Cathedral. 
The picture was. The Expolio (Plate 
IX), and it 18 Still Gn the@plecemron 
which it was painted. Mélida compares 
The Expolo with a twelith century 
Byzantine mosaic in the Cathedral of 
Monreale, Sicily. The composition is, 
indeed. similar. In the painting as in 




























HIS PAN 1) Oyo 


PobeeGekok CO 








the mosaic, the Christ is the central 
figure facing directly towards the specta- 
tor; behind Him is a surging multitude 
‘who seem to press forward, crowding 
about Him. Above the heads of the 
mob are the spears of the Roman sol- 
diers outlined against the sky. This mo- 
tive which appears also in the mosaic 
was used by El Greco not only in The 
Expolio but in the Saint Maurice. It 
would be interesting to establish a con- 
nection between these various examples 
and the famous Surrender of Breda by 
Velazquez. In the mosaic the figures 
form a compact mass arranged in sym- 
inetrical rows. In the painting the 
treatment is, naturally, less formal and 
archaic, more realistic. In the left-hand 
corner of the canvas the three women 
watch with interest the man who is bor- 
ing a hole in the wood of the cross. 
The noble and resigned face of the 
Christ is in strong contrast to the angry, 
mocking expressions of those about Him. 
In the crowd are men with heavy, brutal 





Pee Oe veO NOG RA P HIS 
























Eee 












features, wrinkled brows, half-parted, 
jeering lips, a type of face made famil- 
iar by the painters of the Netherlands 
in their representations of the Passion. 

Sentenach, after praising The Expolio 
as the most perfect work ever painted 
by El Greco, goes on to explain how the 
artist solved the numerous colour proh- 
lems which were presented: 

“Knowing the different effects of 
warm and cold colours, he knew how to 
imitate nature in this, that he places safe 
reds and yellows in the foreground, 
veiling the most distant in a blue haze in 
which they are shaded the better to aid 
the perspective. This is well observed 
in the admirable Expolio, in which the 
planes are graduated by means of the 
tones, reserving for the figure of the 
Saviour the vivid red of His tunic, 
which draws the attention from the first 
moment and which detaches Him from 
all the other numerous personages who 
surround Him” (12). 

In 1579 it was necessary to value this 






























HISPAN UC Nie 





PLATE VII 





Photograph D. Anderson, Rome 


THE TRINITY 
Madrid. Museo del Prado 


Pee CO 





painting. Nicolas de Vergara and Luis 
de Velasco were named by the Cathedral 
Chapter, Diego Martinez de Castafieda 
and Baltasar de Castro Cimbron by El 
Greco, so that each side was represented 
by a sculptor and a painter. The ap- 
praisers on El Greco’s side declared that 
it was so fine a picture that it was be- 
yond all price but that considering the 
hard times and the estimation in which 
such works were held, it was worth 
900 ducados (13). On the other hand 
the representatives of -the Chapter 
considered that the price placed on the 
picture was excessive, that it was worth 
only 2,500 reales because the subject 
had not been treated according to Bib- 
lical history. They cited as their chief 
objection the fact that the three Marys 
had been brought into the scene, which 
was not according to the scriptural text. 

As neither side could come to an 
agreement the decision was left to an 
arbitrator, Alejo de Montoya, a silver- 
smith, who ordered that the Chapter pay 





Pitter ©. NO) T E-S 























El Greco 3,500 reales and who left the 
impropriety of the presence of the three 
Marys for the learned theologians to 
settle. 

Although notified of this decision El 
Greco delayed his response, and the 
Chapter became anxious. Suddenly they 
realized that this Greek, a stranger in 
their city, had not only the picture in his 
possession but all the money which 
they had paid him on account. They 
hastened to assure him that if he would 
make the required changes in the paint- 
ing all could be arranged to his satis- 
faction. They even appealed to the 
alcalde of Toledo to force Eh) Greco 
to comply with the decision of the arbi- 
trator. The artist admitted mina 
had received the money, that he was 
not a native, and that he did not under- 
stand Castilian very well. As he was 
a stranger, he was asked to give 
security and, at last, he was threatened 
with imprisonment. The result was 
that the Chapter waited two years 


HISPAN PGS 











before they paid him the full sum. 
Like Michael Angelo El Greco knew 
the worth of his masterpieces. He held 
out stubbornly against any effort on the 
part of their purchasers to depreciate 
their value. Above all, he refused to 
change any details, so that the three 
women remain in the foreground in spite 
of the scandalized objections of the 
Chapter. 

El Greco then began the retablo for 
The Expolio, receiving various sums on 
account as the work progressed. On 


February 20th, 1587, it was valued by 
Esteban Jordan for El Greco and by 
Sebastian Hernandez and Diego de 
Aguilar for the Cathedral Chapter. The 
price paid for the retablo was higher 
than that paid for the picture. In 1601 
Cardinal Sandoval y Rojas described the 


6c 


Telaolguasea .. . decoration of pilas- 
ters, pedestals, capitals, and facades, all 
gilded; and on the base some sculptured 
figures also gilded, which represent 
Our Lady bestowing the chasuble upon 


eNews ON © GRA PHS 





E L (Gokee ae c, 


Saint Ildefonso” (14). As late as 
1790 the retablo was seen by Cardinal 
Lorenzana, but since then it has been 
replaced by one of marble and bronze. 
If the group, which is now in the 
Cathedral, of the »Virgin sand eoaime 
Ildefonso identified by Lafond and 
Cossio as the one in the Seminario 
is authentic, then El Greco must be 
considered as a sculptor of small figures 
in wood. 

In the next few years the artist’s 
work was to extend beyond Toledo to 
where Philip the Second dwelt in the 
grim Escorial. 





















HIS’ PANT Shia. 



























Peay he GO 





Ill 


| “King Philip’s in his clos- 
et with the 

Fleece about his neck 

(Don John of Austria ts 
armed wpon the deck.) 

The walls are hung with 
velvet that ts black and 
SOE LAS.) Stil, 

And little dwarfs creep 
out of it and little 
dwarfs creep i’ (15). 





Among the foothills of the moun- 
tain range which divides Old and New 
Castilla is the Escorial — palace, tomb, 
and monastery. Seen from a distance 
this enormous pile of gray stone is 
very impressive. Constructed of 
granite from a nearby quarry it seems 
part of the rocky Sierra de Guada- 
rrama which rises like a wall behind it. 
With its severe architectural lines and 
its innumerable small windows it is 
like a fortress built to defend a moun- 
tain pass. 

















ew NON OGRA PHS 

















E L. GR 





Characteristic of its founder, the 
Escorial expresses the religious fanati- 
cism, the sombre and isolated soul of 
that melancholy descendant of the 
Hapsburgs: Philip the Second. Ac- 
cording to tradition it was built by 
Philip to fulfill a vow made on Saint 
Laurence’s Day at the Battle of Saint 
Quentin. The first stone for the 
Escorial was laid on April 23rd, 1563. 
The architects were Juan Bautista de 
Toledo, and, after his death, Juan de 
Herrera. 

The following account given’ by 
Fray José de Sigtienza, prior of the 
monastery in the time of Philip the 
Second, is interesting because it re- 
veals the spirit of the times (16). He 
relates that when the King wished to 
choose a good site he sent a group of 
his -subjects to a place in the Sierra 
de Guadarrama. While they were yet 
climbing upward a violent wind arose 
doing much damage and causing them 
to believe that it was sent by the Devil, 





HISPAN TGA 














PLATE VIII 





PIETA 
New York. The Hispanic Society of America 








eas a] 
Peete CO 39 


who was in a rage that they should 


plan to erect a strong building in which 
to make war with him, since in other 
iparts of the world so many princes 
were destroying churches and ridicul- 
ing the relics of the saints. The souls 
of those who had come to explore the 
ground were dismayed and saddened 
by this tempest. But upon hearing 
their misgivings the religious members 
of the company, being men _ experi- 
enced in combats with the Devil, urged 
them forward. As they mounted and 
the air became milder, they were 
pleased with the chosen site. Another 
day brought a letter from the King 
entreating them not to be astonished 
by the tempest as also in Madrid there 
had been a strong wind. They all 
marveled at the care and thought of 
His Majesty, judging that he was en- 
tering into the negotiations with much 
fervour. This minute attention to 
detail was typical of Philip’s attitude 
during the building and decoration of 





























Pasa COON OT ES 








40 











the Escorial. 

The King imported a vast army of 
foreign craftsmen, most of them from 
Italy, to assist in this tremendous un- 
dertaking; the work of the Italian 
painters was on the whole disappoint- 
ing as they were men of mediocre 
ability. Only by purchasing the pic- 
tures of Titian, Veronese, and other 
masters of the Venetian school was he 
able to obtain the best examples of 
Italian art. Spanish painting was in- 
fluenced to a great extent by this inva- 
sion just as it had been ,a century 
earlier by the art of the Netherlands. 
In far-off [stremadura, Morales was 
painting exquisite Italian Madonnas 
and tragic Pietas. At Toledo Luis de 
Velasco, Blas de Prado, and Luis de 
Carbajal, like their compatriots in An- 
dalucia, became exponents of the new 
manner so much in favour at court. 
Rome and not Venice was the source 
from which the school of Andalucia 
drew its inspiration. Many of the 








HIS PAN PO hs@r i 











Peek EC O 


4I 








native artists went to Rome to study, 
admiring especially the works of 
Raphael and Michael Angelo, returning 
to Sevilla thoroughly imbued with the 
Italian spirit. One of the first of these 
was Luis de Vargas, whose altarpiece 
The Genealogy of Christ can be com- 
pared with the works of Raphael. 
Besides Pedro de Campafia, who painted 
in the Italian manner, there was 
Pablo de Céspedes of Cordoba, a poet, 
architect, and sculptor, as well as a 
painter, who had spent many years in 
Italy. Among these Spanish followers 
of the Italian school was one called 
the Tiziano espanol, Juan Fernandez 
Navarrete, el Mudo, who alone was a 


sang his praises in the Laurel de Apolo. 
He died at Toledo about two years 
fter El Greco’s arrival there. 

The influence of the Netherlands 
rather than that of Italy was  para- 
ount in the work of the portrait 
painters of this period. From the 

















AND MONOGRAPHS 





disciple of the Venetians. Lope de Vega. 




















ED «GR 





canvases of Antonio Moro, Sanche 
Coello, and Pantoja de la Cruz the som 
bre faces of Philip and the royal famil 
gaze forth. These three artists wer 
great favourites with the King and on 
owes to them the long line of portraits 
excellently handled, though with a 
treatment stiff and conventional, which 
illustrates a whole period of Spanish 
history. In these paintings the women, 
in their gowns of rich material 
trimmed with gold and silver galloon, 
wear cnormous lace-edged ruffs anc 
jewelry of heavy design. The men in 
armour or court costume are dignified, 
melancholy, and defiant. Here stands 
Don John of Austria, a lion crouched 
at his feet; here the sickly Prince Don 
Carlos, decked in plumes and ermine, 
rests one hand upon his jeweled sword- 
hilt. Among many illustrious person- 
ages are seen the stern-visaged Mary 
Tudor, Isabel of the Peace, adorned 
with pearls, and the famous: Duke of 
Alba in the armour which he wore in 







































HIS PA NGOs eee 





PLATE IX 





THE EXPOLIO 
Toledo. Cathedral 





Peete CO 

















many a combat. Philip the Second 
appears as a young man, at the time of 
his marriage to Mary Tudor, dignified 
and almost handsome; later, a dismal 
figure clad in black, the Philip of the 
Escorial. 

It has been suggested that El Greco 
was brought to the notice of the King 
by Pompeo Leoni, an Italian sculptor, 
who was dividing his time between 
Toledo and the Escorial. This theory 
is based on the fact that El Greco 
painted, supposedly at this period, a 
portrait of Leoni at work on a marble 
bust of Philip. As the identity of this 
portrait cannot be established with any 
certainty it seems more probable that 
El Greco was introduced by Monegro, 
who had worked in close connection 
with him on the retablo. of Santo 
Domingo el Antiguo, and who was a 
favourite with Philip. 

In 1579 El Greco was commissioned 
by His Majesty to paint a picture of 
Saint Maurice and his companions 








ieee ele oN OT ES 














44 E L. GeRebeGee 
(Plate X) to adorn analtar an ie 
Church of the Eseoriaie ae aro 
order dated April 25th, 1580, the King 
directs the venerable prior of the 
monastery to give to the artist, who 
for lack of money and fine colours 
was unable to continue his work, the 
colours that he needed, especially ultra- 
marine, and to see that he was paid on 
account the money that he required, 
saying characteristically, = gee De 
cause in my service it is fitting that 
things be done with as much quickness 
as possible) #2 at bya 

When the painting was completed it 
did not find favour with the monarch. 
He refused to place it on the altar for 
which it had been ordered, selecting 
instead a picture on the same subject 
by Romulo Cincinnato, an _ Italian 
painter of very inferior merit. That 
even in El Greco’s time his picture 
caused contention among the critics is 
shown by the following quotation from 
Sigtienza: 




















HIS PAN PCRs 








PLATE X 





Photograph D. Anderson, Rome 
SAINT MAURICE 


Escorial. Salas Capitulares 





Pelee ht GO 





45 





“Of a certain Dominico Greco, who 
now lives and does excellent things in 
Toledo, there remained here a picture 
of Saint Maurice and his soldiers, 
which he did for the altar of this saint; 
it did not content His Majesty (it is no 
wonder) because it pleased few people, 
though some said it was great art, and 
that its author knows much, and that 
this is seen in the excellent things by 
his hand” (18). 

It is not difficult to understand that 
the composition of this painting, with 
its two distinct scenes overcrowded 
with figures, was bewildering to the 
eyes of the Spaniards who were accus- 
tomed to have the martyrdoms of their 
saints portrayed in a much _ simpler 
manner. For a clear understanding of 
El Greco’s intention in presenting the 
story, it is necessary to -recall the 
legend of Saint Maurice and the Theban 
legion. The martyrdom is supposed 
to have taken place a few leagues from 
the shores of Lake Geneva, where part 


PeateetiervN Ono N Oct S 


























E lp [Gao 





of the Roman army had halted on its 
march into Gaul. Among the legions 
was one composed entirely of Chris- 
tians and commanded by Maurice, a 
Christian of noble birth. Refusing to 
obey the Emperor’s commands to sacri- 
fice to the gods and to fight against 
their fellow believers, the whole legion 
suffered martyrdom. 

The artist has divided his composi- 
tion into two separate groups. Saint 
Maurice is the central figure in both. 
In the foreground of the painting 
several men are engaged in conversa- 
tion. In spite of his fantastic costume 
the figure of the saint is not without 
dignity. His expression is of great 
nobility, his large dark eyes gaze re- 
proachfully at the Roman who faces 
him. Behind Saint Maurice are grouped 
his soldiers, no Theban legion but 
good citizens of Toledo, their portraits 
painted with care and accuracy. To 
the right is the standards beareras. 
splendid figure in his pseudo-Roman 




















HISPAN LG 




























fee CO 








armour. His right hand is extended, 
the fingers slightly bent in the expres- 
sive gesture that El Greco was so fond 
of using. Above his head the heavy 
folds of a banner lift to the breeze. 
The light from a glory in the heavens 
flashes upon the steel of the halberds 
outlining them against a dark sky. To 
the left, in the middle foreground, is 
the scene of the martyrdom. Here the 
figures are drawn on a much smaller 
scale but with great care for detail. 
As the executioner does his work Saint 
Maurice receives into his own hands 
the heads of his faithful legion. The 
soldiers extend in a winding line far 
into the background, their banners un- 
furled as they advance to the last 
sacrifice. Lances rise against a hill 
upon which are small white buildings. 
Heavy clouds hang above the horizon. 
From the radiance in the sky long 
shafts of light descend upon the 
martyrs. Floating upon the swirling 
clouds are angels with wreaths and 














Pah Oe wON O.G RA PtH'S 















EL GaR eae 





palms of victory, as beautiful as those 
angeis painted a century earlier by 
Melozzo da Forli. In the lower right- 
hand corner of the picture a snake 
holds in its mouth a white paper upon 
which is the artist’s signature in Greek 
letters. , 

El Greco did not again come into con- 
tact with the King and the Court, but 
he appeared before the Inquisition at 





Toledo in 1562 as the interpreter for 
Miguel Rizo Carcandil, or Calandil. 
In the Archivo Histérico Nactonal the 
following information is obtained: 
““Tyominico Teéotocopoli, a native of the 
city of Candia, a painter resident in 
this city, who swears to interpret well 
and faithfully that which passes in this 
audience: . .” (19): 

During this period El Greco painted 
the portrait of a man of about thirty 
years of age, which is now in the 
Prado, known as the Caballero de la 
Mano al Pecho. This portrait is 
easily recognizable as belonging to the 











HIS P ANS eNO 








PLATE XI 





PORTRAIT OF AN OLD MAN 
Madrid. Don Aureliano de Beruete y Moret 


Pees EC O 


49 





= 





first Toledan period. Beruete sees in 
the romantic figure of this unknown! 
caballero the type of the nobles of the 
Court of Philip the Second. Ignoring 
the dramatic events which took place in 
their time they were concerned only 
with the salvation of their souls. 

Of interest also is the Portrait of «a 
Doctor in the same collection. He is 
represented as an elderly man clad in 
black, with white ruffs at his neck 
and wrists. The fact that he wears a 
large ring on his thumb is probably the 
reason that he has been known as a 
doctor, for according to Quevedo’s de- 
scription medical men wore “ ‘a finger- 
ring on the thumb, with a stone so 
large, that when the pulse was taken 
the patient thought of his tombstone’ ” 
(20).  Allende-Salazar and Sanchez 
Canton offer the suggestion that this is 








Rodrigo de la Fuente, a doctor who 
lived in Toledo in the time of El Greco. 





A comparison of this portrait with one 
of Doctor de la Fuente discovered by 





= 
| aia NOU ES 






















ears 

















E L  Gsker 








{Rodriguez Marin shows that there is 
some basis for the supposition. In a 
literary controversy held in Toledo in 
1587 Doctor de la Fuente appears as a 
Latin poet, receiving as a prize a 
finger-ring of small emeralds. Cer- 
vantes mentions him in the IJlustre 
fregona as the most famous doctor in 
Toledo. 

The portrait supposed to be that of 
the Duke of Benavente in the Musée 
Bonnat, Bayonne, portrays him with 
black hair, pointed mustache, and olive 
complexion. A _ sinister glance from 
his dark eyes reminds one that the fires 
of the Inquisition were still burning. 
An interesting contrast to this master- 
ful but repellent portrait is that of the 
benign old gentleman with the quizzical 
expression known as Cardinal Gaspar 
Quiroga (Munich. Alte Pinakothek). 

In the collection of Senor Beruete y 
Moret is a portrait of an elderly per- 
son considered by many to represent 
the artist himself (Plate XI). As no 





















HIS PANG NO ia 








PLATE XII 





PORTRAIT OF FERNANDO NINO DE GUEVARA 
New York. Havemeyer Collection 








PeteaGek LC -O 






























inconvenient evidence has yet been dis- 
covered it is unnecessary to see in this 
weary and embittered old man _ the 
creator of some of the most brilliantly 
original paintings in the history of art. 
His emaciated body seems lost in the 
fur-trimmed garment which envelops 
him. The white ruff only accentuates 
his wan face, high forehead, and point- 
ed beard. His melancholy eyes gaze 
upon the follies of the world from a 
great distance. 

Sentenach justly analyzes these por- 
traits when he writes: 

“E] Greco, as a portrait painter, is 1n- 
deed insuperable. No one has offered 
to 91is9-a4s he fas, “stich expressive 
images of the persons whom he had to 
place upon canvas; in them indeed he 
showed that he knew how to recognize 
and appreciate all the anatomical and 
asymmetric variations which-character- 
ize and differentiate faces, and, what 
is more, the racial character, and tem- 
perament of those men... 





Pete tere CIN OT ES 























E L (Ga eEeae 











“In the simple and sober portraits, 
devoid of all useless detail, he succeeded 
in simplifying his treatment of the most 
expressive and characteristic points. 
The racial type and the illustrious and 
chivalrous character of these person- 
ages were immortalized by his brush 
with touches of supreme mastery” 
(21): 

It would be difficult to prove that the 
Portrait of an Artist in the Museo Pro- 
vincial, Sevilla, represents either El 
Greco or his son. The face framed in 
the enormous white ruff is that of a 
young man with delicate features. In 
his hand he holds a palette and brushes. 

Of the portrait of Fernando Nino de 
Guevara in the Havemeyer Collection 
(Plate XII) Beruete writes: 

“This prince of the Church) a» Dole- 
dan by birth, of aristocratic lineage, a 
famous inquisitor, El] Greco has repre- 
sented to us with an ostentation and 
pomp which one rarely encounters in 
the series of portraits which we owe to 








HIS PANDO re 











Piety hE C. O 





his hand. It is a marvel of colour, and 
if there are evident in it the gray ton- 
alities, so characteristic of the painter, 
they are here necessarily and premedi- 
tatedly modified by the domination of 
the red tone of the costume outlined 
aeainst the chair of red velvet. Such 
a display of colour is compensated for 
by the white lace, seen wherever pos- 
sible. The personality and expression 
of this person who looks at us through 
his spectacles is one sign more of the 
realistic vigour which El Greco knew 
how to give to the countenances which 
he portrayed. In a careful study of 
that which Velazquez learned from El 
Greco, a great part would be occupied 
by a comparison between this work 
and that immortal portrait which Ve- 
lazquez did in Rome of Pope Innocent 
X. It shows clearly how much the 
Sevillian painter learned from the Greek 
in regard to technique, in connection 
with his manner of observing life and, 
above all, in the colouring and general 


Peewee AN OG RAP Hes 





54 


EL Gaeta 











tonalities. It would not be so, on the 
other hand, in that which refers to the 
conception of the work, for while in 
Velazquez all is serene, thought out, 
classic in every sense of the word, in 
the work of El Greco that which most 
attracts the attention is the lack of 
tranquillity, the movement, the nega- 
tion of all ruléese i229, 

The portrait with the romantic title, 
The Lady of the Flower, is in Scotland 
in the possession of Stirling-Maxwell. 
As in representations of royal person- 
ages her hair is drawn back from her 
forehead and rolled high upon her 
head, but in place of the plumes and 
pearl ornaments which formed the elab- 
orate coiffures of the women of the 


court she wears a single star-shaped} 


flower. The extreme simplicity of her 
costume, the transparent white headdress, 
the pale green flower in her dark hair, 
all combine in producing a singularly 
effective frame for her narrow oval face, 
arched brows, and large dark eyes. 


HISPA N PGe Ose oe 








: 





PLATE XIII 





ue J 


Courtesy of the Museum of Fine Arts, Boston 
PORTRAIT OF 
FRAY HORTENSIO FELIX PARAVICINO Y ARTEAGA 


Boston. Museum of Fine Arts 


Poet CO 


59 





| 
| 





One of El Greco’s most famous por- 
traits is in the Museum of Fine Arts, 
Poston) tate ) X11). , It represents 
Fray Hortensio Félix Paravicino y 
Arteaga, a popular orator, a writer of 
distinction, and a favourite of two kings. 
He is shown seated in a chair which 
has a green leather back. He wears 


the black scapular and white tunic, with 


the red and blue cross, of the Order of 


Shod_ Trinitarians. The white cowl 


forms a striking background for. his 


idark, vivid) face: and his mass of 
rumpled black hair. His lips curl 
slightly beneath the narrow line of his 
black mustache—a sad face, more 
Spanish than Italian in spite of his Ital- 


ian parentage. A sonnet by Paravicino 
expressing his admiration for the 


artist’s portrayal of him shares the 


fame of this portrait (23). 
In addition to the small portrait of 


‘Doctor Pisa belonging to the Marquis of 


Vega-Inclan there are two oval mini- 
atures in the collection of The Hispanic 


Pee send NOTES 





















56 


E LG (Geer ae 








Society of Amefica, One oft then 112 
portrait of a man (Plate XIV), is rem- 
iniscent of those other unknown cava- 
liers who gaze down from the walls of 
the Prado. The same sombre garb is 
surmounted by a stiff white ruff, and 
the one lock of hair is arranged in the 
middle of a high forehead. The mus- 
tache and beard are cut in a similar 
manner. The portrait shows a man 
but little past the prime of life; traces 
of light brown are still visible in his 
dark mustache and. beard, his olive 
complexion has a ruddy glow, his black 
eyes are large and penetrating. The 
delicate brush strokes, the exquisite 
handling of each minute detail betray 
the accomplished _ miniaturist. In this 
distinguished piece of work it is evident 
that El Greco benefited by his contact 
in Rome with the famous Julio Clovio. 
This portrait which Venturi attributes 
to the last period is signed. The other 
portrait is that of a Spanish lady 
(Plate XV). Like the infantas in the 


HISPANLG NOG Es 



















paiiines! by Pantoja de Ja Cruz and 
Sanchez Coello she has a_ disdainful 
hir. The enormous lace ruff, the rich 
jewelry, the exaggerated headdress all 
Foclaim:hetrallady of the court, Her 
face is a pale oval. Her lips are scar- 
et. Her red-brown hair is piled high 
and adorned by a jeweled ornament. 
The brown eyes are scornful and a 
ittle crafty. Her nose is aquiline and 
ver chin pointed. Something about her 
»xpression recalls that of the Infanta 
[Isabel Clara Eugenia in the Prado por- 
rait by Liafio. 

A genre painting known as The 
‘amily of El Greco belongs to a period 
arlier than that of the portraits just 
lescribed. For several reasons its au- 
henticity must be doubted. The picture 
has no analogy with his other works, 
rith the possible exception of an wun- 
signed genre painted in Rome during 
his early years. The painter of the 
mystical Assumptions and Annunciations 
vas opposed by his very temperament 













































mye MONOGRAPHS 














EL (G7 





to painting genre subjects. It seems 
strange that the work should have been 
assigned to this century as genre paint- 
ing was not cultivated in Spain and 
Italy, to any extent, until a much later 
date. If El Greco painted this family 
group. the awkwardness of the com- 
position reveals that the artist was 
unfamiliar with this type of subject. 
The painting is long and narrow, and 
the heads of the persons depicted are 
arranged in a stiff row almost on a 
level with each other. The contours of 
the faces are rounded, having the full 
outline characteristic of the Flemish 
school. In the centre of the group 
is a young woman sewing. From her 
costume she is thought to be the mistress 
of the house. On the left is a serving 
maid holding a distaff. Behind her a 
solemn cat gazes thoughtfully into space. 
On the right is an old woman wearing 
a close-fitting headdress and spectacles. 
Another serving maid holds a baby who 
wears a lace-edged apron and a minute 


HISPANDTC 











PLATE XIV 





MINIATURE OF A MAN 
New York. The Hispanic Society of America 








eet 





ruff. This child is supposed to be the 
son of El Greco. Numerous are the 
writers who have tried to identify in 





the paintings of El Greco the various 
members of his family. This rather 
thankless task has led them to suppose 
that the artist’s son was the model for 
the young Saint Martin on horseback 
and also the youth who holds the map 
in the View and Plan of Toledo. His 
purely mythical daughter is variously 
identified as the page in The Burial of 
the Count of Orgaz and the lady in the 
Stirling-Maxwell portrait described in 
the first chapter. It is impossible to 
recognize in the central figure in The 
Family of El Greco the wife of the 
artist because Llaguno’s statement that 
he contracted matrimony in Toledo is 
absolutely without foundation. 

Since the publication of Cossio’s ex- 
haustive work new light has_ been 
brought to bear on the family of El 
Greco. In a document dated March 
31st, 1614, the artist gives the power to 





fe ein ON OCLE.S 


ae 








ees} 
| 60 E DL GeReE Ga 


make his will to his son, Jorge Manuel. 
In the contents of this document is 
found the followings) == Sie jorce 
manuel mi hijo y de la dha dona 
ger." de las \cueUdsiae ares 
contrary to custom, he does not say “my 
wife’, this brings one to the conclusion 
that Dofa Geronima de las Cuebas was 
not his wife but the mother of his ille- 
gitimate son, Jorge Manuel. No men- 
tion is made of other children in the 
numerous documents published by 
Borja de San Roman. A document 
dated June 3rd, 1610, gives the age of 
Jorge Manuel as thirty-two, thus prov- 
ing that he was born in 1578. He was 
probably taught painting by his father, 
who may also have instructed him in 
other arts. In architecture he became 
especially distinguished. He married 
Dona Alfonsa de los Morales (died 
1617) and had one son, Gabriel. A 
few years later, after the death of his 
first wife, he married Dofia Gregoria 
de Guzman (died 1629), by whom he 







































HIS P ACN Nee 





? PLATE XV 





MINIATURE OF A LADY 
New York. The Hispanic Society of America 


Peete tC © 


OI 











had three children, Claudia, Maria, 
and Jorge. He was appointed master 
contractor of the Casa de Ayuntamiento, 
Loledgs (Qn - March 1o0th,-. 1625, ~ the 
Chapter of Toledo made him the maestro 
mayor and sculptor of the Cathedral. 
Soon after this he laid out the plans 
for ine cupola, and lantern of the 
Capilla Mozdarabe. Jorge Manuel died 





when still young. Of his work as a 
painter there remains a replica of The 
Expolio, signed by him, and a copy of 
the lower part of The Burial of the 
Count of Orgazg, both in the Prado. At- 
tributed to him are The Purification of 
the Temple (Jerez de la Frontera. Don 
Ramon Diaz) and Jesus in the House 
of Simon (New York. The Hispanic 
Society of America). It is probable 
that a portion of his work remains 
unidentified. 

Closely connected with the household 
was Francisco Preboste, the servant 
whom El Greco probably brought with 
him from Italy. Among the many 





peer N IG NOE ES 
















- 


EK. Le (Geka Ga 





documents in which Preboste’s name 
figures is one in which he was author- 
ized to undertake a certain work in 
case of the death of his’ master. (He 
was probably to El Greco what Pareja 
was to Velazquez, both pupil and ser- 
vant. The Virgin with the Crystal 
Dish in the collection of The Hispanic 
Society of America has been attribut- 
ed to Preboste. Luis Tristan, though 
considered as El Greco’s pupil, fails so 
completely to attain to the master’s 
excellence that his works hold little of 
interest. wees a9) 


HISPAN [Ug 





meee KE CO 





LN, 


There lived in Toledo in the time of 
Sancho the Brave a pious and illustrious 
caballero, who, having no children, 
devoted his time and money to the erect- 
ing and repairing of churches. He was 
Chancellor of Castilla and tutor to the 
Infanta Beatrice. His name was Gon- 
zalo Ruiz de Toledo, Count of Orgaz. 
He interceded so successfully with the 
Queen on behalf of the monks of the 
Order of Saint Augustine that she grant- 
ed them a new church, which at his re- 
quest was named in honour of Saint 
Stephen. He also rebuilt the small 
Church of Santo Tomé at his own ex- 
pense. When the saintly Count of 
Orgaz died (ca. 1323) Saint Augustine 
and Saint Stephen showed their grati- 
tude by a miracle which occurred in the 
following manner: 


wee N OGRA PS 














EL GRE owe 















“At this time, we find that the 
blessed father Saint Augustine wished 
for the glory of our Spain, to appear 
in the Imperial City of Toledo, and 
how himself favourable to the in- 
habitants of that city, the occasion was 
his. That very Christian and virtuous 
avalier, Don Goncalo Ruyz de Toledo 
f whom we spoke before, died full of 
ious works, and much Christianity, and 
hey carried him to be interred in a 
parish church of the same city called 
sancto Thome: which he had founded 
nd dowered, and after celebrating the 
ffices which the church is accustomed 
o use for the dead, at the time when 
they wished to place him in his sepul- 
hre, there was seen in the church a 
ereat light, and in the midst thereof the 
protomartyr Saint Stephen, and our 
ather Saint Augustine, and approaching 
he body, one at the head, and the other 
at the feet, they took it and placed it in 
he sepulchre, saying these words: such 
reward the man receives who serves 


ee HISPANIC NOTES 


1b 





PLATE XVI 





Photograph D. Anderson, Rome 
THE BURIAL OF THE COUNT OF ORGAZ 
Toledo. Church of Santo Tomé 


Patek IE CG O 


God and the saints, and immediately dis- 
appeared: for this from that time on his 
successors fix a tax in the village of 
Orgaz for the said monastery, because on 
the day of Saint Thomas Apostle a monk 
of the Order preaches, and he 1s obliged] — 
to recount the miracle: but in this year 
of 1568 those of Orgaz have objected, 
forgetful of so great an honour, as that 
of having so illustrious a man for sefior. 
But the Church of sancto Thome has 
started a lawsuit against them, moved 
by the diligence of the very religious 
priest of this parish, called Andres 
Mufioz [!] de Madrid: who still wished 
to do more to refresh the memory about 
this event, by placing again on a stone 
this miracle and history. . .” (25). 
When this same Andrés, Nufiez de 
Madrid, who seems to have had the fame 
of his parish church much at heart, de- 
sired to have a picture painted to portray 
the miracle, he asked permission of the 
Council of the Government of the Arch- 
bishopric of Toledo. The Council gave 


Meee iN) CON OTES 































































66 E ds SGq eee 


, 





its consent in a decree dated October 
23rd, 1584. The picture was ordered 
to be finished by Christmas Day, 1586. 
As was the usual custom it was to be 
valued by two appraisers, one for the 
painter and one for the parish. 

El Greco was selected as the artist 
who was to reveal anew to the Toledans 
the miracle of the pious Count of Orgaz 
(Plate XVI). Contrary to “general 
opinion this picture was not begun in 
1584 but in 1586, according to a contract 
dated March 18th, 1586. He finished it 
before the end of the year. Upon the 
handkerchief of the little page, in the 
painting, appear El] Greco’s signature 
and the date 1578, a date that is quite in- 
comprehensible, as the picture for many 
reasons could not have been painted in 
that year. On the other hand 1578 was 
the year in which the son of El Greco 
was born. It is therefore probable 
that the little page represents Jorge 
Manuel at the age of eight. 

When El Greco had finished the 

























HISPANTO( 





| ats 
igs 


be tad ae 


2 7 
Pi - im 


Pet, 
ap 
“y 








PLATE XVII 





CHRIST EMBRACING THE CROSS 
Madrid. Don Aureliano de Beruete y Moret 
















Pees ne tL. CO) 








picture he asked the Council to value the 
work so that he might receive his money. 
The appraisers named, Luis de Velasco 
and Hernando de Nunciva, estimated the 
work at 1200 ducados.. As this was 
most unsatisfactory to the parish they 
asked to have it revalued. New ap- 
praisers were appointed, Hernando de 
Avila and Blas de Prado, but instead 
of reducing the amount they raised 
it to 1600 ducados. A lawsuit finally 
resulted in an edict of the Council (May 
30th, 1588), in which they sentenced the 
priest and treasurer (mayordomo) of 
Santo Tomé to pay EI Greco the sum of 
1200 ducados before nine days were up, 
thus conforming to the first valuation 
but cannily ignoring the second. El 
Greco, feeling himself abused, appealed 
to His Holiness the Pope asking for the 
400 ducados which he had not received. 
Probably nothing came of this appeal as 
a few weeks later he agreed to take the 
original sum in payment. 

To understand the full significance of 


Hep aN LC ON O.TE S 




















68 


ME 











EL Gees 








the picture it must be considered as a 
whole. Writers have been apt to divide 
it into two distinct parts, the realistic 
lower and the mystic upper one. They 
have criticized each separately as though 
no connection existed between the two. 
Thus they failed to appreciate the def- 
initely planned composition or to inter- 
pret the subject correctly. The picture 
seems to be composed of a series of 
curves, of harmonious lines which sweep 
upward until they reach their highest 
point: the white-robed figure of Christ. 
By this treatment the artist obtains an 
effect of motion, of the souls of men 
striving upward, of angels actually 
hovering between heaven and earth, and 
of torches flaming to the skies. 

In the foreground the bending bodies 
of the two saints, the curved and lifeless 
form of the dead Count, the bowed head 
of the Franciscan monk, all assist in 
creating a feeling of lineal rhythm. 
From left and right massive clouds 
rise in sloping lines above the heads 




























HISPAWN TG 








PLATE XVIII 





Photograph Hanfstaengl, Munich 
THE CRUCIFIXION 


Paris. Musée National du Louvre 


of the mourners, parting in the centre 
of the picture, pushed asunder by the 
ascending form of an angel who holds 
in its arms a tiny being, so delicately 
and vaguely outlined that it seems 
formed of cloud and mist. It is the 
soul of the dead Count, and from 
the protecting arms it ascends to the 
glory awaiting it. Above, upon the 
clouds, the Virgin bends forward to re- 
ceive it, and opposite her kneels Saint 
John the Baptist, his arms outstretched 
in a gesture of supplication. These two 
figures repeat the lines of the bending 
saints in the foreground. 

The Burial of the Count of Orgaz has 
little in common with the balanced per- 
fection, the static qualities of Raphael’s 
Disputa and still less with the paganism 
of Michael Angelo’s Last Judgment. 
And yet, El Greco must have seen both 
paintings in Rome. Although this 
painting by El Greco does not represent 
a Last Judgment, is it not possible that 
he obtained his inspiration for the upper 


Piste cee Co NOP iS 








70 E Lb Gite ae 
























part of the picture from a Byzantine 
source and that this is the symbolic 
group known as the Deésis? Intro- 
duced from the East at an early period, 
the Deésis is described as follows: 
“Our Lord is enthroned in the centre; 
the two other figures stand turned to- 
wards him, each holding out both hands 
in an attitude of supplication . . . what- 
ever the origin, the group ultimately be- 
came apocalyptic, and forms the centre 
of the Last Judgement. The Virgin was 
held to represent the Church of the New 
Dispensation mediating between the 
Saviour as Judge and the world: St. 
John represents the Old Dispensation. 
Examples of this subject, which were 
especially popular from the tenth century 
onwards, occur in mosaics, enamels, and 
ivory carvings. The Deesis appears in 
Western art as a result of Byzantine 
influence. Christ, the) V item eandmse 
John the Baptist in the Deesis arrange- 
ment appear in a few Western Dooms” 


(26). 


ae HISPAN BGs 




















It is not unreasonable, therefore, to 
conclude that El Greco drew his inspira- 
tion from the Byzantine art of Crete and 
from the mosaics and carvings which he 
must have seen at Venice. 

Until a few years ago writers, mistak- 
ing Saint John the Baptist for a repre- 
sentation of the Count appearing in 
heaven, voiced their indignant objections 
to this unclothed figure entirely out of 
proportion, who kneels before’ the 
Geist ihey iorzot that from the 
thirteenth century the souls of the dead 
were depicted in art as little human be- 
ings. In the Spanish primitives Saint 
Michael balances his scales, weighing 
upon them little kneeling figures repre- 
senting souls; in the Triumph of Death 
in the Campo Sanio, Pisa, angels carry 
souls in their arms. The Dormition of 
the Virgin, a subject popular in Byzan- 
tine art, portrays the soul of the Virgin 
as a diminutive being in the arms of her 
Son 4 27.): 

The Burial of the Count of Orgaz is 



























PoeeeekirON OGRA PHS 









EL. PGS Rea 














worthy of a detailed description, as it 
is El Greco’s supreme achievement; in 
it his art has reached its apogee. In 
the immediate foreground the aged 
Saint Augustine in his magnificent 
cope, stiff with gold embroidery, bends 
tenderly above the dark head of the 
lifeless Count. In the black and gold 
damascened armour of Orgaz there 
is a note of dark splendour which 
contrasts admirably with the brilliance 
of the rich dalmatic worn by the young 
Saint Stephen. At the left, kneels a 
page clad in black. He holds a lighted 
torch in one hand and points with the 
other as though to draw attention to 
the miracle. Forming a background to 
this central group are “all the nobles 
of the city”, courtiers in sombre black, 
some wearing the red cross of Santiago, 
monks, and _ ecclesiastical dignitaries. 
At the extreme left, the light from 
flaring torches falls upon the pale 
face of an Augustinian friar shrouded 
in his black habit and half reveals the 


HISPANT?@ NO 




































PLATE XIX 





SAINT DOMINIC 
New York. The Hispanic Society of America 





Pee ly CO 


pensive expression of a Franciscan 
shadowed in his gray cowl. At the 
right, preserving the balance of the 
composition, is the tall figure of the 
priest who reads the burial offices. The 
death’s head grins upon his funeral cope. 
Beside him the processional cross lifts 
its crucifix into the clouds. The mayor- 
domo turns his broad back to the specta- 
tor as he stands gazing at the glory in 
the sky. Dim vistas open in the clouds 
revealing at the left a group of musi- 
cians, at the right a man with arm up- 
raised, a Magdalene lifting a crystal 
vase. Behind the Virgin is Saint Peter 
with the keys. Our Lady is here repre- 
sented as a divine and tender woman, 
not as the regal Queen of Heaven. Be- 
hind Saint John the Baptist are saints, 
apostles, and the great multitude of the 
blessed. It.is the mystic rose of the 
Paradiso; El Greco dreaming of Dante 
created this vision. 
“Upon this side, where perfect is 
the flower 


Pave Nl Cr N. Ooh ES 








EL GRR 
























With each one of its petals, seated 
are 
Those who believe in Christ who 
was to come. 

Upon the other side, where inter- 
sected 

With vacant spaces are the semi- 
circles, 

Are those who looked to Christ 
already come. 

And as, upon this side, the glorious 
seat 

Of the Lady of Heaven, and the 
other seats 
Below it, such a great division make, 
So opposite doth that of the great 
John, 

Who, ever holy, desert and martyr- 
dom 
Endured, and afterwards two years 
in Hell” (28). 

It is the Spaniard, Sefior Unamuno, 
who best interprets the spirit which 
radiates: from the cavaliers surrounding 
the dead Count: 


HIS PA Ni Cae 





Peie Ge ke CO 


“They seem all united, but only be- 
cause they depend on the same death — 
of which the Count is an expression — 
and upon the same sky which opens 
above their heads . . . These men whom 
El Greco paints, fortified within them- 
selves, severe and rigid, seem to say with 
our Fray Juan de los Angeles: ‘I for 
the Lord and the Lord for me, and noth- 
ing else in the world!’ ... The cava- 
liers of the Burial are silent, as silent 
as the Count of Orgaz, who is to be 
buried. Only their hands speak... 

“They speak, the winged hands which 
El Greco painted. One can call them 
‘winged’, as Homer called the word. 
One must listen to them, those winged 
hands, poised upon the breasts of the 
cavaliers or of the saints, or fluttering 
in fantastic foreshortenings. There is 
one, above all, that seems a mystic dove, 
a messenger of the secret of death. It is 
that hand which seems to belong to one 
of the cavaliers in the Burial, and ap- 
pears in it,ascending, enclosed in a wrist- 


Pewee ONMCO N O1G RAP THS 


























band of lace, from the shadows, between 
Saint Stephen and Saint Augustine, 
above the corpse of the Count of Orgaz, 
as though to salute it in its departure 
from this world” (29). 

As to the identification of the various 
illustrious men of Toledo who are por- 
trayed here, that is a dificult’ matter 
At the left is an elderly man with a 
short beard and high forehead. He is 
probably Diego de Covarrubias, an 
eminent theologian, a lawyer, and a 
friend of Saint Theresa. As he died in 
1577 El Greco must have based this 
portrait on an earlier one. Next to the 
/Dominican in his white cowl is the sad 
face, supposed for some reason to be 
a portrait of the artist: At)thesriga, 
the noble head almost in profile with the 
short white beard is possibly that of 
Antonio Covarrubias, the brother of 
Diego. He, also, was a learned scholar 
and a friend of El Greco, who painted 
him again years later. The priest with 
the book who reads the burial offices 















HISPANTOC AiG 





PLATE XX 





SAINT JAMES THE GREAT 
New York. The Hispanic Society of America 





Peieeerens CO 


is thought to be Andrés Nufiez de Ma- 
drid, who played such an important part 
in the history of the parish of Santo 
Tomé. The mayordomo in his white 
surplice may be Juan Lopez. — 
According to Kehrer, who not only 
attempts the identification of the cava- 
liers but extends his investigations to 
the blessed who are grouped behind 
Saint John, there appear in the heavenly 
company the Archbishop of Toledo and 
Pope Sixtus the Fifth. Now as the Pope 
died in 1590 and the Archbishop (Gas- 
par de Quiroga) in 1594 there is some 
difficulty in reconciling their deaths with 
their appearance in heaven in a picture 
painted in 1586. Perhaps it was the 
artist’s method of flattering the great 
men of his time by giving them an as- 
sured place among the host of the re- 
deemed. One is led to believe that EI 
Greco may have stooped to this piece of 
courtly adulation by the fact that the 
third person from Saint Thomas, with 
his carpenter’s square, is a man with a 


fee NLC N Ol ES aoe 























EL (Giket eae 





short white beard and high forehead — 
a man who, in strange contrast with the 
flowing robes of the saints about him, 
wears armour and a white ruff. Com- 
pare this portrait with that of the King 
in El Greco’s Glory 07 2 miiipeeine 
Second; the resemblance is striking. 
And yet, Philip did not die until 1598, 
fully twelve years later. 


HISPA N CGe ees. 





V 


The painter of The Burial of the 
Count of Orgaz, that most perfect ex- 
pression of Spanish mysticism, had 
among his friends Archbishop Quiroga, 
Diego Covarrubias, and other Toledans, 
who, if not mystics themselves, were 
favourable to the exponents of the 
doctrine. Mysticism in Spain reached 
its highest point of development during 
the lifetime of El Greco. The mystics, 
watched by the Inquisition, often at- 
tacked and imprisoned, succeeded in 
influencing some of the most notable 
men and women of their time and in 
producing a literature imbued with 
lofty sentiments. Saint Theresa was 
sent into a retreat at Toledo, Luis de 
Leon was kept in prison at Valla- 
dolid, Juan de la Cruz was placed in a 


AND MONOGRAPHS 












Bide 

































dungeon at Toledo, and yet mysticism, 
that delicate flower of Castilian spiritu- 
ality, continued to flourish. Something 
of this doctrine which taught a closer 
union between God and man, a union 
which might be obtained through prayer, 
meditation, and ecstasy, is expressed in 
the words of Fray Luis de Leon: 

“Ah me! my soul, what baleful chain 

Holds back thy freeborn  spirit’s 

flight ? 

Oh break it, disenthrall’d from pain, 

And mount those azure depths of 

light” (30). 

It is to El Greco’s religious pictures 
that one turns for an understanding of 
the reaction upon him of Catholic To- 
ledo. There is a striking difference in 
his treatment of certain subjects and 
the Spanish Catholic conception of the 
same thing, which leads one to believe 
that he painted not Spain of the 
Inquisition but Spain of the mystics. 
For example, the Spaniards preferred to 
show the exhausted Christ bending 





HISPAN PCOyNee i 





PLATE XXI 





SAINT JAMES THE GREAT 


New York. 


The Hispanic Society of America 



























beneath His heavy cross. The Via 
Crucis was a popular subject among 
them. They were aroused to pious 
enthusiasm by realistic representations 
of suffering and martyrdom. A people 
accustomed to the ferocious scenes 
of the auto-da-fé did not fail to 
demand in their art presentations of 
torture Gard brutality;- El “Gfeco has 
chosen to represent the sorrowful 
figure in a quite different manner 
in his Christ Embracing the Cross 
(Plate=XVIl)_ the head «is slightly 
raised, the tearful eyes shine with for- 
giveness, the cross is held upright. The 
shadow of the Calvary is upon the pic- 
ture, but one is spared the hopeless suf- 
fering of those other Christs stagger- 
ing beneath their heavy burdens. This 
is the gentle Saviour to whom Saint 
Theresa addressed her petitions. If in 
this painting El Greco reveals his 
tendency towards mysticism, in the 
Christ Bestowing a Blessing he shows 
the majestic Christ Pantokrater of 


Deere LN OvTeE S 





sd fe 


Byzantine art. As in the mosaics, this 
figure faces with hieratic ‘solemnity 
directly towards the front, the right hand 
raised to bestow a blessing. 

The Crucifixion in the Louvre (Plate 
XVIII) might be called a devotional 
picture as it does not portray an actual 
event. It has a special place among the 
artist’s works because of its balanced 
composition, its absolute simplicity of 
design, its sombre and harmonious 
tonalities. Christ is represented upon 
the cross as a symbol of suffering and 
redemption, not as the dying Lord sur- 
rounded by His weeping followers. His 
body is firmly modeled, there is nothing 
about it to suggest death, the muscles 
do not sag but remain taut. The head, 
instead of being bowed in grief and 
anguish, is raised, the eyes gaze upward 
with infinite longing. There is a superb 
tranquillity about the figure. It is the 
Christ of Byzantine art, triumphant 
even upon the cross. The background 
creates a fecling of vast spaces across 


HIS PAN G@e oe 








PLATE XXII 





SAINT JEROME 
New York. The Hispanic Society of America 


Peel. © © 


which move slowly and majestically 
gray and white cloud-forms, parting 
above the cross to reveal the intense blue 
sky. The introduction of the two 
donors emphasizes the devotional 
character, of the “subject.: . They: are 
worthy to rank with the famous portraits 
in The Burial of the Count of Orgas. 
The cavalier, at the right, is in black 
with narrow white lace ruffs at his neck 
and wrists. His black hair is touched 
with gray; -At the: left:is a’ cleric in a 
black cassock and white surplice. Per-|. 
haps this is Juan Lopez of the Orgaz 
picture, his hair now turned white. 

As it is impossible to describe in de- 
tail the large company of saints which 
the artist painted, one can only select 
some of those most representative. A 
description by Dalton of Byzantine 
mosaics might apply quite as well to El 
Greco’s saints: 

“The figures that ennoble these walls 
often seem independent of earth; they 
owe much of their grandeur to their 


Maes goeN LG. NOTES 
































EL GREGO 


detachment. They exert a compelling 
and almost a magical power just 
because they stand upon the very line 
between that which lives and that which 
is abstracted” (31). 

As isolated as the tall saints of the 
mosaics is the Saint Peter in the 
Escorial. El» Greco's “tendeney 7 to 
lengthen his figures is very notice- 
able here, but he has undoubtedly 
obtained a certain impressive dignity by 
this method. Quite different in treat- 
ment is the companion piece to this, 
Saint Ildefonso, also known as Eugene. 
The saint is clad in splendid vestments; 
in contrast to the simple folds of Saint 
Peter's mantle, every detail of” the 
embroidery is depicted with marvelous 
accuracy. 

A comparison of. the three Saint 
Sebastians shows the gradual change 
which took place as his mannerisms 
developed. The one painted during his 
first years in Toledo (now in the Cathe- 
dral at Palencia) shows the saint as a 


Pe HISPAN PORN 





pelea LCC) 





beautiful youth fastened to a tree. 
Nothing in the position of the body sug- 
gests suffering. His expression is com- 
posed, almost indifferent. There is a 
landscape background. In the work 
dating from the second period (Buchar- 
est. Pinacoteca) the landscape has dis- 
appeared; there remains only the tree 
trunk. The sky forms the background. 
Though drops of blood fall from the 
arrows which pierce him, his body is not 
distorted by pain. The head, with its 
‘dark mass of hair, the dreamy mystical 
expression, the slender body, all reveal 
the type peculiar to this period. In 
the last variant (Madrid. Casa-Torres) 
clouds sweep across the sky. The grace- 
ful, bending position of the figure in the 
Bucharest canvas is here changed, and 
the body of the saint is so arranged that 
it is in a more direct line with the tree 
trunk, in this way producing the vertical 
effect so sought after by the artist in his 
last years. The expression of the face 
is now very different. The nose is tilted 


AND MONOGRAPHS 








EL Gaia 


at a peculiar angle, the mouth is open, 
the neck swanlike in length. All the 
strange mannerisms are here evident. 

In the painting known as The Tears 
of Saint Peter (London. National Gal- 
lery) the gray-haired saint, clad in a 
yellow cloak and blue tunic, raises his 
sorrowful eyes to heaven and clasps his 
hands in a gesture of supplication. He 
seems to be in that state of ecstasy de- 
scribed by the mystic Fray Luis de 
Granada: 

‘’,. and so the soul, kindled by 
this celestial flame, is lifted out of itself, 
and exerting itself to rise with ardour 
from earth to heaven .. purnsiwitn 
a fervent desire for God, and so hastens 
with impetuous speed to unite with Him, 
and stretches its arms upward trying to 
reach the One whom it so loves; and as 
it cannot reach Him nor abandon its 
desire to do so, it faints with the great- 
ness of unfulfilled desire, and there 
remains no other consolation, than 
sending heartfelt sighs and longing to 


HISPA N Ge 








PLATE XXIII 





HEAD OF SAINT FRANCIS 
New York. The Hispanic Society of America 


PerouGrene fC ©) 87 


”? 





Beavene, 20632). 

A painting in the collection of The 
Hispanic Society of America which 
probably represents Saint Dominic 
(Plate XIX) shows him kneeling up- 
on the ground, with clasped hands 
and bowed head, before a crucifix which 
is supported upon two stones. He is 
clad in the white tunic and black cloak 
of his order. In the right-hand corner 
is a hilly landscape painted in tones of 
brown. The sky is overcast with gray 
and stormy clouds. Also in the collec- 
tion are two representations of the 
patron saint of Spain. In one of them 
(Plate XX) Saint James the Great in 
the garb of a pilgrim wears a blue 
tunic over which is draped a yellow 
mantle. His gray hat is ornamented 
with pilgrim’s shells and fastened by 
a cord over his right shoulder. -He 
holds the staff of a pilgrim in his left 
hand” “A cloudy gray sky forms the 
background. In the other picture (Plate 
XXI1) Santiago is represented as a full- 


Pepeveees NC NODES Bes 


EK Lo Gane 


length figure in a white tunic and red 
mantle. Over his left shoulder is 
strung a gray hat. He holds in his right 
hand a pilgrim’s staff, in his left, a 
book. On a stone at his feet appear 
the initials 60. The landscape painted 
in blue, brown, and gray blends into 
a sky of the same tones= bike wiic 
pilgrims who came to visit his shrine 
at Compostela he seems ready to start 
upon a long journey. 

In the half-length painting of Saint 
Jerome (Plate XXII) in the same col- 
lection the saint appears as an aged 
philosopher with white hair and a long 
white beard. His yellow and emaciated 
body stands out in striking contrast to 
the blackness of the background. Only: 
at the extreme left is this sombreness 
relieved by a cardinal’s red hat and a 
glimpse of cloudy gray sky. A fold of 
red drapery appears below his right arm. 
He holds in his right hand a stone, in 
his left, a brown crucifix, upon which his 
gray eyes gaze with a fanatical devotion. 


HIS PA Nd Cee eae 





Paik © O 





He is seated, ‘and before him are two 
books, an hourglass, and a skull. The 
ivy which hangs over the entrance to 
the cave has been repeated so often by 
the artist that it is almost as much of a 
signature as the Greek letters upon a 
piece of paper in the right-hand corner. 

Among the numerous paintings of 
Mary Magdalene is one in the collection 
of The Hispanic Society of America 
attributed to El Greco. Enveloped in a 
voluminous red mantle she kneels at the 
mouth of a cave before a crucifix. Her 
long yellow hair falls to her waist. A 
skull, the symbol of mortality, lies upon 
a rock. The blue sky is overcast with 
eray clouds. 

It is Francis, above all other saints, 
whom the artist has chosen for his own. 
Many are his canvases showing the 
leader of, 

“. . those barefooted meek ones, 
Who sought God’s friendship in 
Miencord (33). 


In the hermit kneeling at the entrance 


AMONG GRA PHS 








E Db Gah oa 











to a rocky cave before a skull and cruci- 
\fix one fails to see the Saint Francis of 
the Italian legend, the little brother of 
all living things. Without doubt the 
cowled head of a monk in the collection 
of The Hispanic Society of America 
(Plate XXII) represents the saint. 
The profile outlined against a dark back- 
ground recalls other representations of 
Saint Francis painted during different 
periods of the artist’s life. 

Berenson’s condemnation of Fra 
Bartolommeo’s prophets and apostles as 
spiritually insignificant (34) applies 
quite as well to the works of many of 
El Greco’s contemporaries in Spain. 
Of this, at least, the Greek can never. 
be accused, for however inaccurate the 
drawing and sombre the colour, his 
emaciated saints are the quintessence 
of spirituality. 

Without dates or documents concern- 
ing many of the pictures considered in 
this chapter it is difficult to place them! 
in any special period. Von Loga assigns 


HISPANOS 



































PLATE XXIV 





Photograph Flili. Alinari, Florence 
SAINT LOUIS 


Paris. Musée National du Louvre 





The Holy Family in the collection of The 
Hispanic Society of America (Frontis- 
piece) to El Greco’s first Toledan period 
and Cossio to his second period. In de- 
scribing the picture Cossio calls it the 
most beautiful Holy Family by El Greco 
and adds: 

“. . . In its types, as well as in execu- 
tion and in its tones, although the latter 
are somewhat colder, it bears a close 
relationship to the Virgin of the Chapel 
of San José, of Toledo. In the former 
canvas, as in this, the poetic charm of 
the scene, the supreme elegance of the 
types, the constructive force, the intense 
vitality, the magic of the colouring 
dominate. In its expressive nudes, there 
is the frank naturalness, without affecta- 
tion, of the primitive painters; and in 
the carmine, the dark blue and yellow 
of the draperies, the artist has perhaps 
succeeded in the most fortunate dis- 
covery of the tonalities, a little violent, 
which he has been seeking since the 
Saint Maurice. The white mantilla on 


Meee oN CON. OD ES 








92 | E LU Gaeen aa 
| 








the head of the Virgin is, from the 
spontaneity of its execution, the note in 
the picture which places it most definite- 
ly in this period. But, above all, it has, 
perhaps more than any other, that air 
of universal and eternal realism, which, 
wherever it is found, makes us forget 
the subject and the period, to regard the 
work as one of our own day” (35). 

The Virgin wears a deep pink tunic 
and a dark blue-green mantle with a 
yellow border. Over her brown hair is 
a transparent white mantilla. She 
watches with lowered eyes the brown- 
haired Child upon her lap. At the right 
is Saint Joseph in his traditional yellow 
mantle. His hair and beard are dark 
brown. In the background gray clouds 
drift across a blue sky. 

Another undated picture is the one in 
the Louvre supposed to represent Saint 
Louis (Plate XXIV). The saintly King 
is clad in a suit of armour across which 
is twisted a red mantle. Upon his 
brown hair touched with gray is a green- 


HISPANIC 








PLATE XXV 





Photograph Hanfstaengl, Munich 
THE BAPTISM OF CHRIST 
Madrid. Museo del Prado 









baie aGeRiE CO 





gold crown. His expression is unre- 





lieved by a gleam of intelligence or 
humour. Over his dull visage has fallen 
the shadow of the Hapsburgs; he has a 
long nose, heavily lidded brown eyes, 
lntee” eats, “and. a full lower. lip. 
Although the mother of Saint Louis was 
Blanche of Castilla this transformation 
of a French king into a Spaniard of 
the sixteenth century is hardly excus- 
able. As in the miniatures representing 
















A sceptre surmounted by a fleur-de-lis is 
in his left hand. The little page who 
bears his helmet wears a gray jacket 
trimmed with dull gold buttons. His 
white sleeves are adorned with gold 
stripes. About his neck is a white lace 
ruff. In the background is a gray- 
green column. 

Saint Louis again appears in a paint- 
ing of a knight of Santiago and his 
patron. In spite of the inscription on 
the picture the identity of this kneeling 
figure covered by a white cloak, the red 


Saint Louis he holds the hand of state. | 


| 
} 
i 
f 
; 





meer eAN 1. Some. 














EoD “GQ aReeeee 

































cross of the order upon his breast, has 
not been definitely established as that of 
Julian Romero. At his side ts a tall man 
in armour from whose shoulders falls a 
mantle adorned with lilies. The crown 
at his feet makes it seem possible that 
Fl Greco is again portraying Saint 
Louis. At least, so thinks Cossio.} 
Georgiana Goddard King suggests that 
this may be a knight of Alcantara pre- 
sented by Saint Julian (36). Why then 
does he wear the red cross of Santiago 
and why has Saint Julian the attributes 
of a French king? 





HISPAN POO 








PeteieGak HL CO 


Vi 


In an earlier chapter reasons were 
suggested for the markedly individual 
traits which appeared in the artist’s work 
as he advanced in years. This new 
phase can best be studied in the pictures 
belonging to the period about to be con- 
sidered. Whether the mannerisms can 
be attributed to astigmatism, mysticism, 
or Byzantine influence, the fact remains 
that the pictures exert a strange fascina- 
tion and are in many ways the most 
individual of the artist’s productions. 

In regard to the method employed by 
El Greco it is of interest to note that 
Vasari writing of Michael Angelo said: 

“T have myself secured some drawings 
by his hand... He would make his 
figures of nine, ten, or even twelve heads 
long, for no other purpose than the 


Popo eh ON OGRAPHS 


obs 








96 ET) (GER erate 


research of a certain grace in putting 
the parts together which is not to be 
found in the natural form, and would 
say that the artist must have his measur- 
ing tools, not in the hand but in the 
eye, because the hands do but operate, 
it is the eye that judges .. 7) (37); 
As Michael Angelo did much to enrich 
the Farnese Palace in Rome, it is logical 
to suppose that El Greco may have seen 
some of these drawings while staying 
there, 

For the Colegio de Religiosos Calza- 
dos de la Orden de San Agustin, Madrid, 
El Greco executed a retablo. In honour 
of its founder, a lady ef the’ Court of 
Anne of Austria, this colegio was 
generally known as that of Dofia Maria 
de Aragon. Cean Bermudez writes that 
the retablo was done in 1590, but the 
only evidence to support this statement 
is the fact that mass was said there for 
the first time on April 11th, 1590, proba- 
bly after the completion of the retablo. 
The church was not finished until 1599. 


oe Hi'S PANY GaGa 


J 


| ae 


; 


a 
fie 
Lad 


Bae i ee 





i 


PLATE XXVI._ 





Photograph Hanfstaengl, Munich 


THE RESURRECTION | 
Madrid. Museo del Prado 









As usual there was a lawsuit. El Greco 
did not receive his payment of 65,300 
reales until the year from 1598 to 1600. 
The Baptism, now in the Prado (Plate 
XXV), was painted for the colegio. 
and to this three more pictures -are 
added by Cossio because of the similarity 
of their technique and colouring. They 
are The Annunciation in the Museo 
Balaguer at Villanueva y Geltru, The 
Resurreciiow. (Plate XXVI1).and The 
Crucifixion in the Prado. So little docu: | 
mentary evidence has come to ght in 
regard to them that one can only agree 
that in conception and tonality they 
resemble The Baptism. | Cossio writes 
that: 

“On remounting the paintings, there 
have been discovered, fortunately, the 
lateral margins of the canvases, where 
the artist cleaned his brushes. These 
brush strokes, in which ochre “and 
dark red dominate almost exclusively, 
explain the opaque and earthy tonalities! 
of the flesh tones and of the atmosphere 























teeter LC ON OE S 











of this group of pictures...” (38). 

One cannot agree with Sefior Mélida 
that The Baptism resembles the same 
subject as treated by Byzantine artists. 
Here the Christ is seen in profile; in 
Byzantine art He is depicted almost in- 
variably full face, nor is He immersed 
in water. Upon the banks of the river 
stands Saint John the Baptist. From 
a shell he pours water upon the head 
of the Christ who kneels upon one knee. 
A red mantle held by a group of angels 
forms a background for His figure. The 
Dove hovers in the clouds over the 
central group. In the heavens appears 
God the Father clad in shining white 
and surrounded by angels. It is of 
interest to observe that these same 
angels are repeated in The Immaculate 
Conception (Munich. Heinemann Col- 
lection) belonging to Fl Greco’s last 
period. 

In The Annunciation the Angel 
Gabriel, winged like some gigantic bird, 
completely dwarfs the figure of the 


HIS PA NDC eee 












































Wo Ng, Tg a sea Oe @) 






















































Virgin as he approaches upon a curious- 
ly rounded cloud. Awkwardly he folds 
his arms upon his breast. Instead of 
flowing draperies he is clad in a rather 
close-fitting garment of some dark 
iateria.. In’ contrast, the Virgin is 
altogether charming. As she turns from 
her prie-dieu to receive his salutation, 
her mantle falls back revealing her dark 
hair and delicate profile. In the midst 
of a confusion of clouds and. cherubs 
the white Dove sweeps down from 
heaven. A rushing wind seems to have 
invaded the room bearing with it a 
group of angels playing upon musical 
instruments. 
In The Resurrectton the Roman 
soldiers, instead of being half asleep 
about an empty tomb, leap into the air 
in wild astonishment, brandishing their 
unsheathed swords. They raise their 
arms in fantastic gestures as though to 
touch the ascending figure so soon to 
vanish out of their sight. In the centre 
foreground is a soldier who has fallen 





periomnia) NO GuR'A PIES 











backwards upon the earth, still clutch- 
ing his sword. It is this figure which 
assists in creating the effect of ascending 
‘|lines for which the artist was evidently 
striving. Only in the Christ is found 
repose. Majestically He ascends, His 
mantle floating about Him, a banner in 
His left hand: The vradianecweore: 
mandorla surrounds Him. 

The subject? oof) tierce wien 
rendered with such restraint in the 
painting in the Louvre is here marred by 
the mannerisms of El Greco. Unlike 


the lonely Christ in the other painting, 
the Redeemer is accompanied by the 
Virgin and Saint John, while at the foot 
of the cross kneels the Magdalene. 
Angels receive the blood from His 
wounds. The sombre sky reflects the 
tragic feeling emanating from _ the 


canvas. 
The artist’s next work was connected 
with the Chapel of San José at Toledo. 
According to a Latin inscription on the 
facade this was the first church dedicat- 


HTS .P AN DG ee 








PLATE XXVII 





SAINT MARTIN AND THE BEGGAR 
Philadelphia. Widener Collection 





aa Peek EC. © 


Sats 









r 
ed to Saint Joseph. To this chapel had 
come Saint Theresa, whose patron was 
Saint Joseph, and her Shod Carmelite 
nuns. It is singularly appropriate that 
not manysyears later El ’Greco, himself 
steeped in the mysticism of the times, 
should have executed a retablo in a 
place which had once given shelter to the 
greatest of Spanish mystics. The re- 
tablo was begun on November 2oth, 1597 
jand finished two years later. Again El 
Greco became involved in a lawsuit, this. 
time with Martin Ramirez, the nephew 
of the founder of the chapel. Fearful 
of the high cost of continuing the suit 
and perhaps aware of the artist’s per- 
sistency in affairs of this kind, Ramirez 
consented to pay El Greco the 31,328 
reales originally agreed upon. So it is 
stated in a document dated December 
13th, 1599. Cossio believes that a sum 
which Ramirez paid on behalf of the 
artist to a linen draper had been spent 
on canvas for the pictures which were 
to adorn the retablo. Although these 























Prensa eC NO TE S 
















se 





ED AGakeiieteee 











paintings are not mentioned in the docu- 
ment, there is little doubt that they were 
executed at this period and for this 
chapel. 

In the centre of the retablo is a large 
painting of the titular saint of the place. 
Like the Saint James in the collection of 
The Hispanic Society of America, Saint 
Joseph stands upon the crest of a hill, 
wrapped in the many folds of his mantle 
and grasping a staff in his right hand. 
Detached from his surroundings, his 
elongated figure appears enormous. The 
Christ Child at his left seems to cling 
to him for protection from the perils of 
the road. The Child’s figure is decidedly 
puzzling as it is impossible to realize the 
structure of the body beneath the 
garments. His arms and hands are not 
those of a child. Above the head of the 
saint, angels scattering flowers descend 
in a whirlwind of clouds. As in the 
Saint James, the hills of Toledo are seen 
in the background. This motive of E! 
Greco’s adopted city is introduced from 


HISPAN DOs Ooie | 





































a Peer GO 






















time to time until it reaches its culmina- 
tion in the landscape of Toledo painted 
during his last years. 

The Coronation of the Virgin is placed 
above the Saint Joseph in the retablo. 
The figures in the foreground, which 
do not appear in the Madrid and Illescas 
variants, detract from the beauty and 
simplicity of the composition. It has 
been suggested that they represent the 
founder and his family. This is hardly 
admissible as no respected citizen of 
Toledo would appear in flowing mantle 
and without his ruff. Undoubtedly they 
are six of the apostles as it is possible 
to identify Saint James the Great at 
the extreme left’ and the two Saint 
Johns, one at the right and the other 
at the left. Velazquez probably received 
his inspiration for The Coronation of 
the Virgin, in the Prado, from this 
painting. 

The Virgin with Saint Agnes and 
Another Saint, now in the Widener Col- 
lection, came originally from the Chapel 















Peres MONOGRAP HS 








104 E LGR eae 








a 


of San José. There is little about this 

Virgin that is reminiscent of the peasant 

Madonnas of Italy or the golden-haired 
maidens of the Netherlands in jeweled 
| crowns, representing the Queen of 
Heaven. Rather is she the sensitive 
type of Toledan woman of the sixteenth 
century. Her dark hair is drawn back 
from her high forehead and half-veiled 
by a transparent white mantilla. Over 
her red tunic is draped a blue mantle. 
The delicate contours of her oval face 
and her slender, pointed fingers reveal 
her innate elegance and beauty. With 
her left arm she supports the Infant 
whose little hand, with a very natural 
gesture, reaches out to clasp her fingers. 
On either side, clad in pink and green 
garments, are adoring angels. Murillo 
has equalled but never surpassed these 
two youthful figures with their rounded 
forms, their curly hair, their innocent 
faces. They might have been painted 
during the master’s early period, so 
lacking are they in the peculiarities of 


HIS PA No GNSS 


































PLATE XXVIII 





Photograph D. Anderson, Rome 
GLORY OF PHILIP THE SECOND 


Escorial. Salas Capitulares 


Pie GRECO 


105 





his last manner. Below the Virgin and 
Child, at the left, is a saint in a blue 
tunic and yellow mantle, bearing the 
palm of victory, her right hand resting 
upon the head of a lioness. On the 
forehead of the beast are the initials 60. 
Wty thes right, “Saint. Agnes ini. a: -red. 
mantle, holding a white lamb, looks down 
in proud humility. 

Saint Martin and the Beggar (Plate 
XXVII) is another painting which has 
been transferred from the Chapel of 





San José to the Widener Collection.! 


Tite Saint,’a young crusader clad in 
damascened armour, bears himself gal- 
lantly as he rides upon a prancing white 
horse. Leaning towards the beggar at 
his side he severs his green cloak with a 
blow of his Toledan blade. His ex- 
pression is so melancholy, so distrait, 
that he seems in a trance, like a wander- 
ing knight whose crusade is never 
ending. The blue sky is flecked with 
clouds, and far in the distance is seen 
Toledo upon her green hilltops. Books 

















Pee nN DONO TES 





EL Gah 





of chivalry had not yet been held up to 

ridicule by Cervantes. All Spain read 

avidly of adventuring knights and dis- 

tressed maidens. Stored in El Greco’s 
library were many romances, 

them those of Ariosto and Bernardo 

Tasso’s Amadigi (39). The chivalric 

spirit breathes from this painting; it is 

the most romantic of El Greco’s con- 

ceptions. iss : 

~ Beruete is inclined to date The Dream, 

or more correctly the Glory of Philip 

the Second, in the Escorial (Plate 

XXVIII), from this period and not as 

having been painted before the Saint 

Maurice. It inevitably recalls the Glory 

painted by Titian for the Emperor 

Charles the Fifth. Because of its con- 

_ {qj |ception and handling, Cossio, also, 

aor though unable to produce documentary 

ym evidence, does not hesitate tovassion cit 

_ to ca. 1600. In support of this he offers 

*”— Iseveral facts. For instance, Sigiienza 

published the third part of his Historia 

de la Orden de San Gerénimo in 1605, 


HIS PANT OCRN Gewese 


























containing a detailed description of the 
Escorial, but he failed to mention the 
Grory eee whitest’ time it is given by 
Santos in his work on the Escorial it 
is described as being in the sacristy of 
the Pantheon. After the failure of the 
Saint Maurice it is thought that the 
King would have hesitated to com- 
mission the artist to paint such an 
important picture as the Glory. He 
comes to the conclusion that the order 
for the picture to be placed over the 
tomb came from the Comunidad years 
after the death of the King. 

Santos writing in the seventeenth 
century says: 

“A Glory by Dominico Greco, one 
of the best which he painted, though 
always with want of taste in the 
|colours; but here he has the excuse 
that it is not easy to find those suitable 
for painting the Glory of God; for the 
most vivid cannot succeed in represent- 
ing the might of that Supreme Majesty, 
neither seen, nor heard by men. Usually 








Pew ON OGRA P HS 











BL AG See 








this canvas is called the Glory of Greco, 
because of a fragment of glory which 
one sees in the upper party) ine 
wished to represent to us here that 
conceit of Saint Paul: In nomine Jesu 
jomne genu flectatur Ce lestium, Terres- 
trium, & Infernorum. It is a subject 
executed with all excellence; the skill 
of the artist’s drawing is already well 
known, and here he shows taste in the 
positions, and elegant attitudes, which’ 
|the figures have, with naturalness and 
ease, without the multitude becoming 
jconfused” (40). 

The Glory of Philip the Second recalls 
illuminated title-pages by its innumer- 
able details, its vari-coloured and gem- 
like qualities. There is a marvelous 
richness as well as variety within a. 
small space. Like the minute figures in 
the Ejecutorias Philip kneels with 
clasped hands, a black silhouette out- 
lined against a brilliant background. 
His sombre costume, his excessive pallor, 
are emphasized by the cruel contrast. 


HISPANIC NO 








> 


‘PLATE XXIX 





PORTRAIT OF CARDINAL TAVERA 
Toledo. Church of the Hospital of San Juan Bautista 








Peete CO O 


With what pleasure has El Greco 
painted the glowing red of the Cardinal’s 
cloak, the blue, green, and carmine of 
the garments of the saints, the yellow 
robe trimmed with ermine, the brocaded 
cushion, and the carpet upon which the 
blessed kneel! Behind the elect an in- 
numerable throng of the redeemed ex- 
tend across the plain. The picture is 
crowded with incident. At the right, 
hell is represented by the open jaws of 
ja monster, inside which the tormented 
struggle against leaping flames. In the 
background the red glare from the burn- 
ing lake tinges with colour the gray 
clouds which divide the heavenly from 
the earthly scene. Above in the sky a 
crescent of kneeling angels gazes upon 
a monogram I H S in the centre of 
a golden glory. It is significant that 
the form in which the name of Jesus 
appears is that chosen by the Jesuits 
as the symbol of their order. Opposed 
to the Society of Jesus during the 
greater part of his reign, Philip the 


eee N CaN OY ES 


109 


E Lb Gage 


Second came to regard them with favou 
before his death. 

In 1603 El Greco began the retablo 
for the Colegio de San Bernardino, 
Toledo, and completed it on September 
12th of the same year. To this retablo 
belongs the Sait Bernardino of Siena, 
now in the Museo del Greco. Several 
years later he drew a plan for the facade 
of the colegio. 

In his next lawsuit he appears as the 
champion of the noble art of painting, 
declaring it free from “all taxation, 
Palomino and others are wrong when 
they assign the year 1600 as the date 
of this lawsuit, since the retablo for the 
Church of the Hospital of Nuestra 
Sefiora de la Camdad, at llileseas, 
over which the discussion raged, was 
not contracted for until June 18th, 
1603. The tax scollécton ean iescas 
placed .a «tax “of fiity 7 etioucand 
maravedis upon this retablo, which sum 
the artist with characteristic independ- 
ence refused to pay—hence the lawsuit. 


HIS PA Neti 





Ailsa 


‘er ae 





C4ayvy ouoyvoN ‘uopuoT 


NdduvO AHL NI WHAVAd AHL 
uopuoT ‘kK4azjvy jouoynn ayy fo fsazanoy) 





XXX ALVId 





Peek CO 





When a decision was reached it was 
found that El Greco had gained the 
victory. Since painting was declared 
free of tribute, his fellow artists rejoiced 
with him. The legend that El Greco 
never sold a picture but only leased it 
to escape the tax has been entirely 
disproved. In 1604 Pompeo Leoni, 
Eugenio Patricio, and two others came 
from Madrid to appraise the work. 
El Greco was not satisfied with their 
evaluation and instituted a lawsuit which 
dragged on for several years, terminat- 
ing finally in 1607. The general plan 
of the Hospital was the work of Nicolas 
de Vergara and not of El Greco; Ponz, 
Palomino, and others to the contrary. 
The four statues in the capilla mayor 
assigned by Cossio to El Greco were 
probably drawn by him but executed by 
someone else. 

The Convent of San Francisco, also 
at Illescas, is supposed to have been 
constructed by El Greco, but as it has 
entirely disappeared it is impossible to 


ieee COON OC ES 








II2 E Ly GRBs 


say to whom it should be assigned. It 
contained two sculptured tombs of the 
founders attributed to the artist, but they 
have vanished. 

El Greco painted for the Church of 
the Hospital of Nuestra Senora de la 
Caridad five pictures: Charity, The 
Coronation of the Virgin (resembling 
the one in Madrid), The Annunciation, 
The Nativity, and Saint Ildefonso Writ- 
ing. Cossio thinks that to this group 
may also belong The Betrothal of the 
Virgin in the Pinacoteca, Bucharest. 

The most important picture is the one 
depicting Ildefonso, who was held in 
great esteem by the Toledans as one of 
their patron saints. A vision which ap- 
peared to him is described in Flos sanc- 
torum: 


66 



















. as one time the holy Arch- 
bishop was reading the book which he 
had composed, on the virginity and ex- 
cellency of the glorious Mother of God,| 
she appeared to him visibly, and said, 
I come to thank you for the pains which 


HISPANT @ WO ae 


















Peete ke CO 112 








you took for love of me in this book 
which you have written in praise and 
defense of me” (41). 

In the painting the artist has chosen 
the moment when the saint was still 
engaged in writing his book; the Virgin 
had not yet appeared to him. He is 
seated at a table holding in his right 
hand a quill pen. His left hand rests 
upon an open book. His head is raised 
as though he had stopped writing for a 
moment, lost in holy meditation. .How 
admirably has El Greco portrayed this 
venerable white-haired man. His lean 
face is full of spirituality, his rapt gaze 
is that of a scholar and a mystic. The 
room in which he is seated reveals the 
rich furnishings of the houses of the 
wealthy in the sixteenth century. The 
table is covered by a red velvet cloth 
trimmed with gold braid, the chair is 
adorned with red silk tassels. Of fine 
workmanship are the various articles for 
writing placed upon the table. On a 
pedestal against the wall is a statue of 































AND 





PION) GR Earls 








Ki Toe ee 








the Virgin and Child. Rarely did El 

reco use as a background the narrow 
confines of a room. He preferred the 
wind-swept hills of Toledo or some 
cave overhung with green ivy where 
dwelt an emaciated saint. 

The five scenes from the life of Mary 
Magdalene, and a Holy Face, thought 
at one time to have been painted by 
the artist for the retablo mayor of the 
Church of Titulcia or Bayona, are now 
attributed to his son. Although EI 
Greco undoubtedly assisted him in this 
undertaking, documents dated 1609 and 
1612 prove that Jorge Manuel was the 
painter and Giraldo de Merlo the sculp- 
tor of this retablo. The best known 
among the pictures is Jesus in the House 
of Simon, 

In a contract dated November 16th, 
1608, El Greco undertook the construc- 
tion of the retablo mayor and _ side 
altars of the Church of the Hospital of 
San Juan Bautista, at Toledo. He can 
be held responsible only for the original 





HISPA NPG re 








PLATE XXXI 





Courtesy of the Metropolitan Museum of Art, New York 
THE ADORATION OF THE SHEPHERDS 
New York. Metropolitan Museum of Art 





plan, because at his death, in 1614, it 
was found that he had made but little 
progress with the work. His son next 
undertook to complete it, but following 
in his father’s footsteps he became in- 
volved in a lawsuit in 1630, with the 
result that Gabriel de Ulloa was ap- 
pointed in his place. Borja. de San 
Roman, who by publishing numerous 
documents has solved many problems in 
regard to El Greco’s share in the work, 
thinks that the pictures which are now 
on the walls of the church were not 
originally painted for the place. Among 
these is the large Baptism of Christ 
which the artist left unfinished. The 
Holy Family is assigned to an earlier 
date and The Annunciation attributed 
to Gabriel de Ulloa. Besides the ones 
given by Borja de San Roman there 
are at present in the church the Por- 
trait of Cardinal Tavera (Plate XXIX), 
The Tears of Saint Peter, and a. Saint 
Francis. It is hardly necessary to add 
that the statues of the retablo mayor, 


Peete CCN Ol ES 








EL) Go 





though probably drawn by EI Greco, 
were not executed by him. The sculp- 
ture representing Jesus crucified, the 
Virgin, and Saint John are assigned to 
a much later period in Spanish art. 

The work tor the Churcimon tie 
Hospital of San Juan Bautista was one 
of the last contracts which EI Greco 
undertook. His life was drawing to a 
close, but his indomitable spirit was un- 
changed, his genius more markedly in- 
dividual than ever. Life had failed to 
conquer him, 


HIS PANDO NeGs a 








PeieGeR ECO 117 





Vil 



















“Here all of Greco that 
can be confined 

Doth Pict» lay; here bur- 
ics, and here seals; 

Gently dispose him, gent- 
ly, so he feels 

No footsteps stir the part 
he left behind! 

His fame no silence upon 
earth shall bind 

Where men are born; 
though envy’s breast be 
stecl’s 

Against it; for no other 
star reveals 

Such radiant glow on our 
horizon blind. 

The wiqher fe he 
wrought,—not mere ap- 
plause,— 

Greater Apelles!—and the 
wonderment 

Of ages shall invoke hts 
stranger wavs! 

Crete gave him birth; the 
brush with which he 
draws, 

Toledo;—and a _ better 
land is bent 

To grant him rest eter- 
nal to his days’ (42). 











The works painted during El Greco’s 





Peel?  NLON OG RA PHS 





EL Gea J 

















last years show plainly his increasing 
tendency to escape from the conven- 
tionality about him. He chooses his 
subject with greater freedom. His in- 
terest in landscape takes form in two 
views of Toledo. Like Saint John he 
sees visions of the Apocalypse as he 
nears the end. The Immaculate Concep- 
tions and the Pentecost are filled with 
an unearthly ecstasy. His figures grow 
taller, becoming more — spiritualized. 
They seem to say with Fray Luis 
de. eons 





“O were it mine, Ruiz, to grow 

The wings of heaven, and out 
of bondage here, 

Ascend beyond the life we know 

Unto that outmost crystal sphere 

Where Truth itself shines ever 
pure and clear) aay 


Among the variants of El Greco’s 
Prayer in the Garden the strangest and 
perhaps the most beautiful is the one 
in the National Gallery, London (Plate 
XXX). The striking originality of the 











HIS PA NGS 

















treatment can be best appreciated after 
considering a painting on the same 
subject by Mantegna in another part of 
the Gallery. In the work of the Italian 
master the garden lies in the midst of a 
gay and enchanting landscape. A stream 
flows from distant mountain peaks. In 
the background are the far towers of a 
walled city. Beneath a dazzling blue 
sky the three apostles sleep profoundly; 
(eter atee's in prayer upon a hill. 
Like a band of wandering minstrels, in 
bright array, the Roman soldiers ap- 
proach, led by Judas, who has the air of 
a young nobleman. Later in the works 
of El Greco’s Venetian masters this 
same lack of harmony between the 
landscape background and the subject 
Of ihe picture was still evident. In 
The Prayer in the Garden El Greco 
has used the landscape to intensify the 
feeling Of suspense, of isolation, of 
innocence about to be betrayed. A 
sharply curved rock rises abruptly 
behind the Christ, who, clad in a rose- 


Se MON OGRAR HS 








120 E L. GaReEs ee 





coloured tunic and _ kneeling upon 
a blue mantle, is the central figure. 
Upon a white cloud like a snow bank 
floats an angel with gray wings bearing 
a golden chalice. In a rocky cavern 
to the left sleep the three apostles, 
their bodies twisted in strangely graceful 
attitudes. To the right, the white moon- 
light, shining through luminous gray- 
blue clouds, reveals Judas and the 
Roman soldiers advancing in the still- 
ness of the night along a road which 
winds through barren hills towards the 
lonely garden. The painting is at once 
astonishingly modern and bewilderingly 
primitive. 

Equally permeated with mysticism but 
more nervous and intense is The Adora- 
tion of the Shepherds in the Metropoli- 
tan Museum of Art, New York (Plate 
XXXI). The Virgin, Saint Joseph, 
and the shepherds are grouped in atti- 
tudes of worship about the Child who 
lies upon a shining white cloth in the 
centre of the picture. This cloth seems 


ee HISPAN DG] ) Ot 





PLATE XXXII 





THE IMMACULATE CONCEPTION 
Toledo. Church of San Vicente 








Pele at hk. CO 127 





to reflect the light upwards throwing a 
subdued illumination over the group. 
It accentuates their sharp profiles and 
casts strange flickering shadows upon 
the dull greens, yellows, pinks, and 
white of their garments. It reveals in 
the darkness at the left a little Toledan 
donkey. Above the central group are 
three small cherubs bearing a scroll. 
Beneath the archway at the right a 
shepherd with raised arms gazes upward 
at the light in the sky. 

In The Pentecost in the Prado the 
Byzantine influence again becomes evi- 
dent. Iconographically it is closely re- 
lated to The Pentecost in the Syriac 
Gospel of Rabula (44). The Virgin has} 
the place of honour; grouped about 
her are the apostles and a woman in a 
white mantilla. Tongues of flame leap 
upwards above their heads. From a 
dome which curves over them the Dove 
descends in a golden light. The motive 
of the wavering line of flames in the 
background, used in the Rabula Pente- 


nee ACN UC ON OYEES a 








EL 4 ae 











ieee HISPAN PO @h Or 


cost, is rarely seen in Spanish primitives, 
where heavy gold halos seem to take its 
place. Though presentations of the 
Pentecost. are found “withieeeeese 
frequency among the Spanish primitives, 
the artists of the sixteenth and seven- 
teenth centuries were so concerned with 
the dogma of the Immaculate Concep- 
tion, then at the height of its popularity, 
that they neglected to some extent the 
other events in the life of the Virgin. 

Not until a few years before his death 
did El Greco choose the Immaculate 
Conception as a subject for his brush. 
Cossio and others have classified the 
paintings in the Church of San Vicente 
and in the Heinemann Collection as 
Assumptions, but a careful study of the 
attributes in the foreground of both 
pictures will verify the statement that 
they represent the Immaculate Concep- 
tion. of the Virgin. The one painted 
for the Church of San Vicente, Toledo, 
(Plate XXXII) was begun in 1608 and 
finished in 1613. It is marvelously 



































PLATE XXXIII 





THE OPENING OF THE FIFTH SEAL 


Paris. Don Ignacio Zuloaga y Zanora 








ieee cel) CO 








beautiful. Again the Divina commedia 
is brought to mind. The Virgin is a 
“crowned flame” soaring upwards (45). 
Dante might have been describing the 
angel with the great wings when. he 
WEOLE: 


“Lo! how straight up to heaven 
he holds them reared, 
Winnowing the air with those 
eternal plumes.. ...” °(46). 
El Greco’s very exaggerations here tend 
to produce a thrilling sense of movement. 
A rushing wind seems to sweep all 
before it: the cloud mists, the tall white 
lilies, the swirling draperies of the 
musicians. Differing in every essential 
from the placid girl Virgins by Murillo, 
La Inmaculada seems not a living person 
but the embodiment of an ideal, the 
spirit of mysticism mounting to heaven, 
no longer to be detained on earth. 

The other Jmmaculate Conception 
(Munich. Heinemann Collection) is a 
prototype of a long series of paintings 
on a subject which was to become more 


Pee aCe oN OT ES 








IZ 








E lL (GiR ae 














iand more popular in Spain. Though 
it resembles them in composition and in 
feeling it is forever separated from them 
by the mannerisms which stamp it as a 
work of El Greco’s last period. Instead 
of the rosy cherubs in the paintings by 
Murillo, Carrefio de Muranda,° and 
Valdés Leal, the Virgin is here accom- 
panied by angels with long limbs and 
sharply pointed features. Like great 
birds they circle about her. The Virgin's 
expression is mysterious and reserved; 
her body is swathed in the folds of a 
heavy mantle. Strangely enough the 
details in the immediate foreground, the 
flowers, the fountain, the temple, the 
little ship, are treated with a care more 
characteristic of Valdes Leal than of 
the Greek. 

And then, as though weary of paint- 
ing saints and Madonnas at the command 
of reverend personages, he indulges his 
fancy and places upon canvas a star- 
tlingly disconcerting vision. This paint- 
ing known as Profane Love has now 




















HIS PAN TL CRG 











Peet kk CO 


to 


Cn 








been identified as The Opening of the 
Fifth Seal, in the Apocalypse (Plate 
pew) elt, -orithe sketch for it, is 
listed in the inventory made of the 
artist’s possessions after his death as, 
“Un S. Ju’ abangelista q be los misterios 
del apocalipsi pequefio” (47). In the 
Book of Revelation Saint John’s vision 
is described as follows: 

“And when he opened the fifth seal, 
I saw underneath’ the altar the souls 
of them that had been slain for the 
word of God, and for the testimony 
which they held: and they cried with 
a great voice, saying, How long, O 
Master, the holy and-true, dost thou 
|not judge and avenge our blood on 
them that dwell on earth? And there 
was given them to each one a white 
robe; and it was said unto them, that 
Pieyesiould: rest yet for a little 
merce (AS); 
The seven nude figures then are ‘the 
souls of them that had been slain’. A 
great billowing mantle has descended 











Peer eVON OGRA PES 

















126 E L «GRan ae 




























upon them; it seems about to envelop 
them, but they raise it aloft with their 
uplifted hands. Some kneel upon the 
ground. Their bodies make a fantastic 
wavering pattern against the dark back- 
ground. Storm clouds sweep above 
them. They are but spectres in a dream. 
The Saint John, kneeling at the lei: 
alone is human. Tle towers over them, 
his tremendous figure draped in a vo- 
luminous mantle, his arms lifted high 
above his head. 

Another painting equally foreign in 
subject to El Greco’s other works is the 
Laocoon (Plate XXXIV), also painted 
during this period. It will be remem- 
bered that since the famous marble 
Laocoon was found in 1506 the artist 
must have seen it in Rome. Although 
the figures in this group are not inter- 
twined as in the Vatican masterpiece, 
the same effect of unity is obtained by 
the curving lines of the bodies and the 
twisting coils of the serpents. In the 
centre foreground Laocoén is _ lying 











HISPANT G03 











ap 
le 





epee 


hs 


ed i 
‘ 





UDOT UQ ‘“YayJoyouig ap “YyIUHy 
NOOOOV'I 





AIXXX ALV Id 








Peer tt, LC. O 


E27 





among the rocks. The serpent which 
writhes beneath him is about to attack. 
Behind him is one of his sons whose 
position recalls that of the soldier in the 
Prado Resurrection... To.the left, the 
other son stands with his body swaying 
backwards and his outstretched hands 
holding the coils of a serpent away from 
him. Quite apart from the main action 
are two nude figures at the extreme 
right. Probably introduced into the 
composition to balance the standing 
figure of the son at the left, their com- 
plete indifference to the tragedy being 
enacted before them leads one to believe 
that the artist intended them to represent 
gods, possibly Pallas and Neptune. 
Toledo and not Troy appears in the 
background. A little white’horse (the 
wooden horse of Troy?) halts near the 
Visagra Gate. El Greco must have 
passed through this gate very often on 
his way to the Hospital of San Juan 
Bautista. 

The same gate again appears in the 


Pere Ee ON OIC E.S 






























E DL (GeRer ae 














View and Plan of Toledo, which was 
painted from almost the same spot as 
the Laocodn. To the left the city slopes 
sharply downhill to where the Tajo 
ows beneath the Alcantara Bridge. 
To the right outside the city walls the 
hills) sweep away into the distance. 
Above the massed buildings, the Alcazar, 
the Cathedral spire, and the many church 
towers stand out against a cloudy sky. 
In the heavens is the Virgin, surrounded 
by angels, carrying, as she did in the 
legend, the chasuble to Saint Ildefonso. 
In the centre foreground is a small 
model of the Hospital of Sax Juan 
Bautista, to the left of which is an 
allegorical figure of the river Tajo. A 
young man, at the right, spreads out a 
plan of the city in such a way that the 
winding river and narrow streets can be 
easily traced. That this plan is techni- 
cally correct is vouched for by Lampérez 
y Romea. Upon the plan appears this 
rather bewildering explanation in the 
artist’s own words: 


HIS PAN VGN OF ie 


c 

















Pee het CeO 





“It was necessary to place the 
Hospital de Don Joan Tavera in the 
form of a model because not only did 
it almost cover the Gate of Visagra 
but the domes and cupola ascended 
in a way to surpass the city and so 
once placed as a model and moved 
from its position it seemed to me to 
show the facade rather than any other 
part and as concerns the rest how it 
is arranged in relation to the city will 
be seen in the ground plan. 

““Also in the history of Our Lady 
who brings the chasuble to Saint 
Ildefonso for his adornment and in 
making the large figures I have taken 
advantage in a certain way of the fact 
that they are celestial bodies as we see 
in the lights which seen from afar, 
however small they may be, appear to 
us large’” (49). 

More interesting from some points of 
view is the wild and beautiful landscape 
sometimes known as Toledo in a Storm 
(Plate XXXV). Only a part of the 


PENUEMONOGRAPHS 








Dae Bee Cre ce fa oe 





city is seen: the great ravine through 
which winds the Tajo, the Castle of San 
Servando, and the abrupt cliff sur- 
mounted by the Alcazar. The lofty spite 
of the Cathedral rises from the hillside 
below the Alcazar instead of from the 
centre of the town. But it matters little, 
as El Greco never intended this to be an 
accurate view of Toledo like the other} 
painting. Though the artists of the 
Netherlands excelled in landscape paint- 
ing in the sixteenth century, it is im- 
possible to recall any Spanish artists 
ot the same period, or earlier, who 
produced works of this kind. El Greco 
may be considered as a pioneer in this 
field. 

A few years before his death he 
received a visit from a fellow artist, 
Francisco Pacheco, the author of the 
Arte de la pintura.. Pacheco gives a 
confused account of El Greco’s method 
of working and adds that in reply to 
the question which was the more diffi- 
cult, colouring or drawing, the master 


HIS PAN DG SNe eieoe 








PLATE XXXV 





TOLEDO IN A STORM 


New York. Havemeyer Collection 


—— 
Pere CC) 131 





replied: colouring. He goes on to relate 
that “Dominico Greco showed me in the 
year 1611. a cupboard of clay models by 
his hand, which he made use of in his| 
work. And what was most remarkable, 
the originals of all that he had painted 
in his life, painted in oils on smaller 
canvases, in a room, which, by his order, 
his son showed me. What will the 
presumptuous, and lazy say to this, will 
they not fall dead hearing of these 
examples °” (50). According to the 
inventory of El Greco’s possessions, 
published by Borja de San Roman, 
Pacheco’s statement that the artist had 
“the originals of all that he had painted 
in his life” is a decided exaggeration of 
the facts. There are listed thirty modeis 
of clay and wax and twenty of plaster. 
One fails to find in this inventory any 
of the numerous portraits. 

It was Jorge Manuel Theotocépult 
who on April 12th and July 7th, 1614 
wrote out this inventory of his father’s 
worldly possessions. The document is 














Peewee N 1 Gy NOTES 











Ree 
ine E DL 1Gakeea 





of great interest as it gives a detailed 
account of the pictures, books, personal 
belongings, and household goods. Borja 
de San Roman sees in it a direct denial 
of the assertion that the artist lived in 
luxury. It is no longer possible, then, 
to credit the much quoted statement of 
José Martinez in regard to El Greco 
that “. .. he gained many ducats, but 
wasted them in excessive ostentation on 
his house, even to having salaried musi- 
cians so that when he ate he should 
enjoy all delights” (51). 

On March 32ist, 1614, El Greco, being 
| 


upon a bed of sickness, gave to his son 
the power to make his will. He named 
him as his executor together with Luis 
de Castilla, Dean of the Cathedral of 
Cuenca, and Fray Domingo Banegas 
(Venegas?) a monk of the Monastery 
of San Pedro Martir, Toledo. Jorge 
Manuel was his sole heir. Not until 
January 2oth, 1616 did his son draw up 
the will. This document, published by 
Borja de San- Roman, gives an account 











HISPAN TGS Ole 





BL 








of the various brotherhoods which were 
to accompany the body to the church 
and of the masses to be said for the 
soul of the dead. The church which 
contained his first Toledan picture was 
enosen to receive his body after 
death (52). In the Libro de entierros 
of the parish of Santo Tomé is found 
the brief notice of his death on the 
seventh of April, 1614. It is stated also 
that he left no will, that he received 
the sacraments and was interred in 
the’ Church of Sanio Domingo el 
Antiguo (53). * 

Although the splendid tomb described 
by Luis de Gongora is but a flight of 
fancy, the sonnet written by the poet 
in honour of El Greco is a fitting tribute 
to his undying genius: 

“Stranger, this glittering tomb of 

porphyry fair 

Imprisons now that master’s hand, 

which drew 

On canvas or dull board with touch 

so true, 


Mme eMONOGRAPHS 





E L 2GaReiie 








As if the breathing forms of life 
were there: 

His name, which loud-voiced heralds 
nught declare 

In tourney-field of Fame with chal- 
lenge bold, 

Is now content to gild this marble 
cold; 

Pass on, but greet it first with rever- 
cnt prayer. 

The famous Greek rests here, whom 
Nature led 

To Art, Art taught him study; light 
and hues 

He learnt from sun and rainbow; 
fancy tree 

Smiled on his dreams. Let pious 
tears be shed, 

And cheer the sullen urn with spicy 
dews, 

Press'd from the bark that shrouds 
the Arabian tree” (54). 


HIS PAN PGS see. 





NAO ES 





NOTES 


(1) Dalton, O. M. Byzantine art and 
archaeology. Oxtord, 1911. p. 252. © . 
(2) Unamuno y Jugo, Miguel de. Il 
Greco in Rassegna darte. 1914. v. 1, p. 75, tr. 
(3) “Al Card. Farnese. 
Viterbo 


A’di 16 di 9bre 1570. 

FE’ capitato in Roma un giovane Candiotto 
discepolo di Titiano, che a mio giuditio 
parmi raro nella pittura; et, fra l’altre cose, 
egli ha fatto un ritratto da se stesso, che fa 
stupire tutti questi Pittori di Roma. Io 
vorrei trattenerlo sotto l’ombra di V. S. 
Tl.™* et Rev.™" senza spesa altra del vivere, 
ma solo de una stanza nel Palazzo Farnese 
per qualche poco di tempo, cioé per fin che 
egli si venghi ad accomodare meglio. Pero 
La prego et supplico sia contenta di scrivere 
al Co. Lud.*° suo Maiord.°, che lo pro- 
vegghi nel detto Palazzo di qualche stanze 
Gaeta che V. 9. IIL™* fara -un’opera 
virtuosa degna di Lei, et io gliene terrd 
obligo. Et Le bascio con reverenza le mani. 

eye. 1 * “et Rey:™* humilissimo 
cen 

Don Julio Clovio” 


Pare Oe kTON OG-R Agr HS 


135 





136 E L SG 





Cossio, M. B. El Greco. Madrid, 
1908. v. 1, p. 8-9, note I. 
| 


(4) Justi, Karl. Los comiengos de El 
Greco in La Espata moderna. November 
1914. afio 26, p. 76-77, ir. 


(5) S, J. A. Retratos 4 patsaje™ det 
Greco pintados en Italia in Sociedad espafiola 
de excursiones. Boletin. 1916. ano XXIV, 
p. [93] tr. 

(6) Beruete y Moret, Aureliano de. Fi 
Greco pintor de retratos. [Madrid, 1914?] 
p. 14-15, tr. 

(7) Vega Carpio, L. F.de. Por la puente, 
Juana in Comedias escogidas. Madrid, 1855. 
Ni 2p 0AG. 


(8) Cervantes Saavedra, Miguel de. The 
omplete works. v. VIII. Exemplary novels. 
Glasgow, 1902. we2Z pe 


(9) Pisa, Francisco. Descripcion de la 
civdad. de Toledo. Toledo, 161/247 sii. 

(10) Pacheco, Francisco. Arie wde wa 
pintvra. Seuilla, 1649. p. 446, tr. 


(11) Cossio. Ves puiocee 


(12) Sentenach  y ‘Cabanage aren. 
Técnica pictorica del Greco in Sociedad 
espafiola de excursiones. Boletin. March 
1916. afio XXIV epee 

(13) “In all these computations, the equiv- 
alent is 34 maravedis for a real, and 11 
‘eales for a ducado.” 

Cossio: -v. 1, p. 185: “notesijar: 











NOES 








(14) Cean Bermudez, J. A. Diccionario. 
Madrid, 1800. v. 5, p. 4, fr. 

(15) Chesterton, G. K. Lepanto in Poems. 
London, 1915. p. 18. 

(16) Sigtienza, José de. Historia de la 
Orden de San Jerénimo. Madrid, 1909. 
v. 2, p. 410-411, tr. 

(17) Llaguno y Amirola, Eugenio. Noticias 
de los arquitectos y arqutectura de Espana. 
Madrid, 1829. v. 3, p. 349, tr. 

(18) Sigtienza. v. 2, p. 634, ir. 

(19) Marti y Monso, José. Dominico 
Theotocopult interprete griego in Sociedad 
castellana de excursiones. Boletin. Novem- 
ber 1903. afio I, p. 147, tr. 

(20) Allende-Salazar, Juan, and Sanchez 
Canton, F. J. Retratos del Museo del Prado. 
Madrid, 1919. p. 100, tr. 

(21) Sentenach y Cabafias. p. 8-9, fr. 

(22) Beruete y Moret. p. 18-19, tr. 

(23) “Al mismo Griego en vn retrato que 
hizo del Autor. 





SONETO. 


DIuino Griego de tu obrar, no admira, 
que en la imagen exceda al ser el arte, 
sino que della el cielo por templarte 

la vida, deuda a tu pinzel retira. 

No el Sol sus rayos por su esfera gira, 
como en tus liencos, basta el empefiarse, 
en amagos de Dios, entre a la parte 
naturaleza que yencer se mira. 

Emulo de Prometheo en vn retrato, 








mae MONOGRAPHS 











138 


eae Rawal 





peas} 
EK DL Sash ‘ 

















no afectes lumbre, el hurto vital dexa, 
que hasta mi alma a tanto ser ayuda. 
Y contra veinte y nueue afios de trato, 
entre tu mano, y la de Dios, perpleja, 
qual es el cuerpo.en que ha de viuir duda.” 
Paravicino y Arteaga, H. F. Obras 
posthumas. Madrid, 1641. f° 63. 
(24) Borja de San Roman y Fernandez, 
Francisco de. El Greco en Toledo. Madrid, 
(910. p.- 187; ; 
(25) Roman, Jerénimo. Chronica de la 
Orden de los ermutanos del glorioso padre 
Sancto Augustin. Salamanca, 1569. f° 64. 


ifs 
(26) Dalton. p. 664-666. 
(27) “Your business is to paint the souls 
of men — 
Man’s soul, and it’s a fire, smoke. . 
no it’ $ mopeneee 
It’s vapour done up like a new-born 
babe — 
(In that shape when you die it 
leaves your mouth)” 
Browning, Robert. Fra Lippo Lippi 
in The poems and plays of Robert 
Browning. London and New York 
[1908]. p. 296. 

(28) Dante Alighieri. Divine comedy. 
Paradiso. Canto XXXII. Tr. by Longfel- 
low. Boston and New York [°1895]. p. 
596-597. 

(29) Unamuno y Jugo. p. 76, 78-79. 

(30) Leén, Luis de. The Ascension in 





HIS.PA NW GS 








eo ES 139 






























Churton, Edward. Gongora. London, 1862. 
v. 2, p. 249. 

(ole dalton. =p. 35. 

(32) Granada, Luis de. Obras. Madrid, 
1848. v. 1, p. 59, tr. 

(33) Dante Alighieri. The divine com- 
rove oredise. ©Canto XIf. ‘Tr: by Cary. 
New York [°1897]. p. 372. 

(34) Berenson, Bernhard. The Floren- 
tine painters of the Renaissance. New York 
and London [°1908]. p. 78. 

(ecawossio, Viol. p. 327, tr: 

(36) King, G. G. A brief account of the 
military orders in Spain. New York, 1921. 


Kt, 

(37) Vasari, Giorgio. Lives of the most 
eminent painters, sculptors, and arclitects. 
Lendon,.1852. vy: 5, p. 335. 

(38) Cossio. v. 1, p. 294, tr. 

(39) As an edition was printed in. Venice 
in 1560 he may have purchased it there. 

(40) Santos, Francisco. Descripcion 
breve del monasterio de S. Lorenzo el real 
gel Escorial, Madrid, 1667. v° f° 162, tr. 

(41) Vega, Pedro de la. Flos sanctorvm. 
Alcala de Henares, 1572. wv° f° clxxviij. 

(42) Paravicino y Arteaga, H. F. Sonnet 
on the tomb of the painter who was El Greco 
of Toledo in Walsh, Thomas. Hispanic 
anthology. New York and London, 1920. 


(43) Leén, Luis de. To Felipe Ruiz 
Walsh, Thomas. The pilgrim kings. New 
Sire Sy py. 123. 



















ie MON O:-G RAPES 











140 





EL 2G Ra 





(44) Dalton. fig. 408. 

(45) Dante Alighieri. The divine com- 
edy. Paradise. Canto” Xie oaeey 
Cary. New York [*°1897]. p. 419. 

(46) Dante Alighieri. The divine com- 
edy. Purgatory. Cantoy li site byecacy. 
New York [°1897]. p. 188. 

(47) Borja de San Roman y Fernandez. 
p. 191. 

(48) Bible. N. T. Rev. 6: 9-11. 

(49) Cossio. v. 1, p. 455-456, tr. 

(50) Pacheco. pisos ies 

(51) Martinez, José. Discursos practi- 
cables del nobilisimo arte de la pintura. 
Madrid, 1866. p. 183, tr. 


(52) As early as August 26th, 1612, Jorge 
Manuel had taken possession of a vault and 
altar in the Church of Santo Domingo el 
Antiguo to be used as a burial place for his 
father and himself. Borja de San Roman 
devotes a chapter in El Greco en Toledo to 
a discussion of the exact location of this 
vault in the church. That the spot is now 
occupied by a baroque retablo and that Juan 
and Pedro Alcocer were buried in the place 
chosen by El Greco and his son complicates 
the matter. It is possible that atter the 
burial in Santo Domingo el Antiguo of 
Jorge Manuel’s first wife, in 1617, the fam- 
ily no longer owned the vault. In her will 
dated 1629 his second wife declares that she 
wishes to be buried “ . . . in the vault which 
the said Jorge manuel and I hold in the 





HISPA NIT Clie 








Pec Lob S 








Ce of san torcas [San Torcuato]. 
(Borja de San Roman y Fernandez. p. 
212, tr.) Borja de San Roman had the 
vault in Santo Domingo el Antiguo opened 
but he found it impossible to come to a 
definite conclusion as to which were the 
remains of the famous Greek. 


(53) ““dominico greco En siete del fa- 
lescio dominico greco no hizo 
testam*®: Recibio los sacram*t®* 

enterrosse en 
Sto domingo el antiguo dio belas.’” 


Cossio, M. B. El Greco. 
Barcelona [19-]. (El arte en 
Espana) p. 6. 
(54) Gongora y Argote, Luis de. On the 
painter, El Greco in Churton, Edward. 
Gongora. London, 1862. v. 2, p. 230. 











moe MONOGRAPHS 




















PARTIAL Dl SiO eyo alae 


The paintings which are starred 
are described in the text. 


AUSTRIA 


VIENNA 
Avuspirz, STEPHAN VON 
Portrait of San Ignacio de Loyola also 
known as Luis de Gonsaga 
IXAISERLICHE GEMALDEGALERIE 
*The Adoration of the Alagi 
Portrait of a Man (Attributed) 


CANADA 
MONTREAL 
VAN Horne, The late Str WILLIAM 
Portrait of a Nobleman of the House 
of Letva 
FHead of Saint Maurice 
Holy Tamily (Attributed) 


ENGLAND 
BARNARD CASTLE. Bowrs MUsEuM 


The Tears of Saint Peter (N c 


ren 





HIS PAN@D Gee 





ce 





ie On KS 








LoNDON 
, 
Carrax Gatrery CAod Xana Ue») 


Genre Scene 


Davies, Miss GERTRUDE 
Head of Saint John the Baptist 
The Expolio 

Harris, Lionet, Esquire (remy 
Christ’s Farewell to the Virgin «sul. 


The Crucifixion Sel. 
The Tears of Saint Peter av 6 
C wy lnm Cre. um iL aS 
Nat TONAL GR GALLERY ; ~ Sb 


*The Purification of the Temple 
Saint Jerome 


"Lhe Tears of SaméePeter™ cf § wp va 
*The Prayer in the Garden 4 P 
Head of Saint Peter 


STIRLING-MAXWELL, Sir JOHN 


*Portrait of a Lady 
Portrait of a Man 


VINCENT, Sir Epcar 


Supper im the House of Simon (At- 
tributed) 


YARBOROUGH; Lory” My VARLE. Mis ; 
*The Purification of the vicina & 
RICHMOND (SURREY) 
Coox, Sir EFreperiek fer be, 
*The Purification of the Temple 


fe DaNMON OGRA PHS 








A. 


Ph. 



















144 E iL. 2G ghee 





FRANCE 


BAYONNE 
MusEE BONNAT 


ni Saint Jerome 
4 1 *Supposed Portrait of the Duke e Bena- 
{ vente 


LILLE 
0 Must&e DE LILLE 
p Saint Francts 
- The Prayer in the Garden 
Lyon 
Of, Musk&e pe Lyon 
' ¢ The Expolho 
PARIS 
CHERAMY COLLECTION ctl - 
i. \ *Saint Bernard 
\ CHERFILS COLLECTION 
mA Genre Scene 
Errazu, Don LuIs DE 
ON *Supposed Portrait of Julian eee 
OLLE rly) Qu 


Dir. Bust Portrait of Fernando Nino de 
Guevara 


MusEE NATIONAL DU LOUVRE 
*The Crucifixion 


*Saint Louis also known as Ferdinand 
of Aragon 
Manzi, M. Lours (nemnty) 















ee 





HITS PANT CSO 








Wye iS 
























Fly . 
Saint Martin. ‘Ge. Derwhauw | Lanse? 


ZuLOAGA Y ZANoRA, Don IGNnacio V 


Saint Francis coeadidianeaY bon 


The Annunciation 

*The Opening of the Fifth Seal also 
known as Profane Love 

Holy Family 

STRASBOURG 

Mus&te MUNICIPAL DES BEAUX-ARTS 


Head of the Virgin 





GERMANY 

DRESDEN 

GEMALDEGALERIE | 

*The Healing of the Blind 

MUNICH 

ALTE PINAKOTHEK 

The Expolio 
*Portrait of Cardinal Gaspar de Quiroga 
*Taocoon (On loan) (at pele) 
HEINEMANN COLLECTION 

*The Immaculate Conception 


HUNGARY 


BUDAPEST bano~ 

Herzoc, M< von 

Saint Andrew 

The Prayer in the Garden 
SZEPMUVESZETI MUZzEUM 





Page vrON OGRA:PHS 





TE TD (GekS Eee 


Saint Mary Magaalene . 


ITALY 
NAPLES 
Musto NAZIONALE 
*Boy Lighting a Candle 
*Portrait of Julio Clovio 
PARMA 
REALE GALLERIA 
*The Healing of the Blind 
ROME 
Draco, PRINCE DEL 
The Expolio 
GALLERIA NAZIONALE. PALAZZO CORSINI 
The Baptism of Christ 
The Adoration of the Shepherds 


ROUMANIA 
BUCHAREST 
PINACOTECA 
Portrait of Diego Covarrubias 
*Saint Sebastian 
*The Betrothal of the Virgin 
The Adoration of the Shepherds 


RUSSIA 
PETROGRAD 


HERMITAGE ; 
Portrait of a Poet (Attributed) 





HISPA NPGS Os 





WeO-R KS 





: SCOTLAND 
Vf NE 
IKEIR (DunrRiks) 
STIRLING-MAXWELL, ARCHIBALD, Esquire 
*Supposed Portrait of Pompeo Leoni 
*Portrait of the Lady of the Flower 
Glory of Philip the Second also known 
as The Dream of Philip the Second 


SPAIN 


AVILA 
CATHEDRAL 
Supposed Portrait of Don Garcia 
Ibanez de Mugica Bracamonte 
CUDILLERO (PROVINCE or tHr AstuRIAS) 
Sricas! Don Forrunaro pr ” Cee 


The Immaculate Conception 
Et Escorrau 
Reat Monasterio pE SAN Lorenzo DEL 
EScORIAL 
SALAS CAPITULARES 


*Saint Maurice 

*Glory of Philip the Second also known 
as The Dream of Philip the Second 

Saint Francis 


. . \ 
Saint Francts ee en 


SACRISTIA 


*Saimt Peter 
*Samt Ildefonso also known as Saint 
Eugene 


mre ON O.GRAPHS 





GRANADA 
BARRECHEGUREN, DoN RAMON 
+r Saint Francis 
Caro R1ANo, Don AcustTin 
; , Saint Francis 
‘ y~—CoLecio Novicrapo DE LA COMPANIA DE 
‘Jesus 9 (ed mth | HY 
Saint Francis uw. ele Grw 
ILLESCAS 


? ax 


CHURCH oF THE HospiTaAL or NUESTRA 
SENORA DE LA CARIDAD 

*Charity 

*The Coronation of the Virgin 

*The Annunciation 

*The Nativity 

*Saint Ildefonso Writing 


Maprip 


ra ALBA, DUKE OF 
(| Wf The Crucifixion 
BERUETE Y Moret, DoN AURELIANO DE 
*Portrait of an Old Man also known as 
Portrait of the Artist 
? ne ) | *Christ Embracing the Cross 
BIBLIOTECA NACIONAL 
Saint John the Evangelist (A sketch) 
CasA-Torres, Maroulis oF 


The Tears of Saint Peter 
*Saint Sebastian 


eg ba We 


HISPANT CRN Oi 





po 





WVSOCR KS 





L 











Bust Portrait of Fray Hortensio Félix 
Paravicino y Arteaga 
CASTRO SERNA, MARQUIS OF 
Saint Jerome 


CERRALBO, Margulis oF 
Saint Francis 
Saint John the Evangelist 


CHURCH oF SAN GINES. CONGREGACION 
DEL S™° SACRAMENTO 


The Purification of the Temple (Attri- 
buted ) 


GaRciA, The late Don R. 
Saint Francis 


ee HErrs or SENOR 
} 


Christ Bestowing a Blessing 
INSTITUTO DE VALENCIA DE Don JUAN 
Allegory of the Hermit Life of the 
Camaldulians 
TURBE, SENORA DE 
Christ Bestowing a Blessing 
MEnNGs, SENoR 
Christ Embracing the Cross 
Montejo, SENoRA 
Saint Jerome 
Moret y QuINTANA, SENOR 
Saint Francis 


MUSEO DEL PRADO 
*The Annunciation 





ee ear O NO GRAPHS 
































E LoGehe ee 


*The Trinity 
*The Baptism of Christ 
*The Crucifixion 
*The Resurrection 
*The Coronation of the Virgin 
*The Pentecost 
Christ Embracing the Cross 
Holy Family (Attributed) 
*Saint Benedict 
Saint Francis 
Head of the Virgin 
Saint Anthony of Padua 
Saint John the Evangelist and Saint 
Francis 
Saint John the Evangelist 
Saint Paul 
Portrait of a Monk 
Portrait of a Man 
Portrait of a Man 
Portrait of a Man 
Portrait of a Man also known as The 
Licentiate Jerénimo de Ceballos 
Portrait of Rodrigo Vazquez 
*Portrait of a Doctor possibly Don 
Rodrigo de la Fuente 
*Portrait of a Man 
Portrait of a Man 


Navas, Don LuIs 


Christ Embracing the Cross 


PaARCENT, DUCHESS OF 


Christ Bestowing a Blessing 


HISPA NT GgNSOee 









WORKS 






























PERINAT, MARCHIONESS OF 
Saint Peter and Saint Paul 





PIDAL, MARQUIS OF 
Saint Francis D 


Quin To,...Don.. Ricarno..PascuAL. 
Saint Francis 


RETANA Y GAMBOA, SENOR 
Christ Embracing the Cross 


Rota, VISCOUNT OF 
Angel Musicians 
SALVATIERRA, MARQUIS OF 
Saint Francis 
SANTAMARIA DE SILVA, MARQUIS OF 
Saint Jerome 
ToRRECILLA, MARQUIS DE LA 
Portrait of a Shod_ Trinitarian 
Urguijo, MARQUIS OF 
The Annunciation 
VeEGA-INcCLAN, MARQUIS DE LA 
Saint Louis also known as Ferdinand 
of Aragon 
OLoT (PROVINCE OF GERONA) 


ParisH CHURCH 
Christ Embracing the Cross 





















enemas ON O-G RAP HS 





Ch 














152 EL) GRE 





PALENCIA 





CATHEDRAL 
‘i = * Saint Sebastian 


SEVILLA 
CASTRO, SENOR 
Saint Francis 





Musro PROVINCIAL 
*Portrait of an Artist also known as 
(\ < Portrait of the Son of the Artist 
SITGES 
5 Musr& DE CAU FERRAT 
The Tears of Saint Peter 


~ Sait Mary Magdalene 
‘| TOLEDO 
CASA DEL GRECO 
ni Saint Francis 
Pay The Tears of Saint Peter 
7 Portrait of Don Diego Covarrubias (At- 
a tributed) 
: CATHEDRAL 
SACRISTIA 
p\ *The Expolio 
k Christ Bestowing a Blessing 
F ; Saint Andrew 





Saint Philip 
Saint Simon 
Saint John the Evangelist 











HISPAN DG NOs 





Saint Thaddeus 

Saint Matthew 

Saint Paul 

Saint Peter 

Saint James the Less 

Saint James the Great (Santiago el 
Mayor) 

Saint Bartholomew 

Saint Thomas 

The Tears of Saint Peter 

Saint Dominic ‘. 

*Virgin Giving the Chasuble to Saint 
Ildefonso (Attributed) Polychrome 
wooden relief, estofado 


ANTESACRISTIA 

Saint Francts 

Tesoro ( % wary 

The Expolio C Syma } 
CHURCH OF LA MAGDALENA 

Saint Joseph and the Christ Child 


CHAPEL OF SAN JOSE 


*Saint Joseph and the Christ Child < 
*The Coronation of the Virgin 


CuHurcH or SAN NicotAs (V SPA De 


Saint Dominic 
The Crucifixion 
The Annunciation 


CuurcH oF SAN RoMAN 
The Immaculate Conception 


PD MONOGRAPHS 





~~) 
» ie > 


154 


E LGU ata. 


CHURCH OF SAN VICENTE 
*The Immaculate Conception 


CyHurcH or SANTA LEOCADIA 
V cromca 


The Expolio 


CuurcH or Santo DoMINGo EL ANTIGUO 
*The Adoration of the Shepherds 

*The Adoration of the Shepherds 

*The Holy Face 

*The Resurrection 

*Saint John the Baptist 

*Saimt John the Evangelist 

*V eronica 

CHURCH OF SANTO TOME 

*The Burial of the Count of Orgaz 


CoLEGIO DE DONCELLAS or DE LOS 
REMEDIOS 
Saint Francis 
CHURCH OF THE HospIraL or SAN JUAN 
BAUTISTA 
*Portrait of Cardinal Tavera 
*Holy Family 
*The Tears of Saint Peter 
*The Baptism of Christ 
*Saint Francis 
Saint John the Baptist and Saint John 
the Evangelist 


HOosPITAL OF SANTA ANA 
Holy Family (Attributed) 


HIS PAN PC Oh 








MuSEO DEL GRECO 

Portrait of the Blessed Juan de Avila 

Portrait of Don Antonio Covarrubias 

Portrait of Don Antonio Covarrubias 

Portrait of Don Diego Covarrubias 

The Crucifixion 

*Saint Bernardino of Stena 

*View and Plan of Toledo 

*Christ Bestowing a Blessing 

Saint Andrew 

Saint Bartholomew 

Saint Philip, 

Saint John the Evangelist 

Saint Thaddeus 

Saint Matthew 

Saint Paul 

Saint Peter 

Saint Simon 

Saint James the Great (Santiago el 

Mayor) 

Saint James the Less 

Saint. Thomas 
VeEGA-INCLAN, MARQUIS DE LA 
*Portrait of Doctor Pisa 


VALENCIA 


SANZ BremMOn, SENOR 
Saint Dominic 


VILLANUEVA y GELTRU (PROVINCE OF 
BARCELONA) 


Musrto BALAGUER 
*The Annunciation 


Peeve MONOGRAPHS 













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UNITED STATES (OR Aiki 


OSTON, MASSACHUSETTS 








Museum oF FINE Arts 
*Portrait of Fray Hortensio Félix Para- 
vicino y Arteaga 
Saint Dominic 
Cuicaco, ILLINOIS 
THe Art INSTITUTE 
*The Assumption 
IMERION, PENNSYLVANIA 
Tue Barnes IfoUNDATION 
The Expolho tyy-Ww 
New Yorx, New Yorxk 
BLUMENTHAL, GEORGE, ESQUIRE 


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9 PrytoO . 
Wt -* me o* The Adoration of the Shepherds 
: DurAND-RUEL GALLERIES 
Yn Saint Francis 
“ Supper in the House of Simon (At- 
| FR tributed) 


FRicK COLLECTION 

*Portrait of Vincentio Anastagi 
*The Purification of the Temple 
*Saint Jerome 





HAVEMEYER COLLECTION 
*Portrait of Fernando Nino de Guevara 
*Toledo in a Storm 





HIS PAIN Gah ee 





$8369 383939 828 QV BD 


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WORKS 157 






























THE HIspANic SOCIETY OF AMERICA Dy 
*Holy Family 
* Picks Ph 
*Miniature of a Lady | As 
*Miniature of a Man 
*Saint James the Great (Santiago el ae 
Mayor) . 
*Saint James the Great (Santiago el p 
Mayor) h. 
*Saint Jcrome Rh 
*Head of Saint Francis ty 
*Saint Dominic ihe 


*Saint Mary Magdalene (Attributed )}——_|- 


The Virgin (Attributed) 0 
Saint John (Attributed) ! qe 


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JILTON 


x 5 LIN ’ 
=~ Si 

An Evangelist also known as The Holy Rh . 
Simeon 





LeHMAN, Putt, Esquire 
Saint Jerome 





Merrovotiran Mustum or ArT 


*The Adoration of the Shepherds re 






Holy Family (Attributed) (Deaciwylol\) 
PHILADELPHIA, PENNSYLVANIA 
JOHNSON COLLECTION 
Portrait of a Lady 
Prieta AS 
PENNSYLVANIA MusruMmM or ArT ? 
The Crucifixion 











fee ON O.G RA PHS 






E Ly G Ree ieee 


WIDENER COLLECTION 

*The Virgin with Saint Agnes and An- 
other Saint 

*Saint Martin and the Beggar 

*The Family of El Greco (Attributed) 


'|ProvipENcE, Ruope IsLAND 
RuopE IsLtAaND SCHOOL oF DESIGN 
Saint Andrew 
WASHINGTON, DistTRICT OF COLUMBIA 
PHILLIPS MEMORIAL GALLERY 
The Tears of Saint Peter 
WorRCESTER, MASSACHUSETTS 
WorceEsTER ART MusSEUM 
Saint Mary Magdalene 


lana dat healla vty ma (pm). 


HISPAN I Coho 





Geourvardk Poul ; is LA 
An (Coy CO J ‘Ulety a VAN b Ww t| C - (2p vv 


Mrnmcistaane 'S, Van. LP? Oe 


Pewee OG RAPHY 






Peper Ou nA PHY 


R. ACADEMIA DE BELLAS ARTES DE SAN 


Since the present volume went to press, 
the Portrait of an Old Man (Plate XI), 
referred to on pages vi, x, 50, 51, 148, and 180, 
has been acquired by the Metropolitan 
Museum of Art, New York, and An 
Evangelist also known as The Holy Simeon, 
mentioned on page 157, has been acquired by 
The Hispanic Society of America, New 
York. : 


veuvrrevvvviveyv 









dad castellana de excursiones. Boletin. 
October 1914. v. VI, p. 510-515. 

Bertaux, Emile. Notes sur le Greco. I. 
Les portraits de famille in La Revue de 
Part ancien et moderne. June 1911. v. 
XXIX, p. [401]-411. 

Notes sur le Greco. II. L’Italianisme 

in La Revue de l’art ancien et moderne. 


mee aT ONOGRAPHS ae 


















E L ty RoE ae 


WIDENER COLLECTION 

*The Virgin with Saint Agnes and An- 
other Saint 

*Saint Martin and the Beggar 

*The Family of El Greco (Attributed) 


PROVIDENCE, RHODE ISLAND 
Ruope IstaNnpD SCHOOL oF DESIGN 


1 











+ mae 


HISPAN POS tee 








L Fat ri 
Gur'yvork Paul : <} Dan COng So, rr | CRUANNS 
On Guco" Tony 4 hee em he free hl ie 


Gtrameisterave 'S, Yan. b 






























peers Ont, RAP TY 


Peeper is aek A. P EY 






R. ACADEMIA DE BELLAS ARTES DE SAN 
FERNANDO, Madrid. Catdlogo de la ex- 
posicién de cuadros del Greco. Madrid 
[1909?]. 

Un admirador del Greco en el siglo XVII in 

Sociedad espafiola de excursiones. Boletin. 

Jane-1917. aho X XV, p. 105. 


ALLENDE-SALAZAR, Juan, and SANCHEZ 
Canton, Francisco Javier. Retratos del 
Museo dél Prado. Madrid, 1919. 


Barres, Maurice. Greco; ou, Le secret de 
Pode. Paris, 1912: 

Barres, Maurice, and Laronp, Paul. Le 
Greco. Paris [1944?]. ae, Flouny. 

Brrogui, Pedro. Adiciones y correcciones 
al catdlogo del Museo del Prado in Socie- 
dad castellana de excursiones.  JSBoletin. 
October 1914. v. VI, p. 510-515. 

Bertaux, Emile. Notes sur le Greco. I. 
Les portraits de famille in La Revue de 
Part ancien et moderne. June 1911. v. 
XXIX, p. [401]-411. 

——Notes sur le Greco. Il. L’Italiamisme 

in La Revue de l’art ancien et moderne. 


Pen NOGRAPH S oe 










































December 1912. v. XXXII, p. [401]-410. 
—Notes sur le Greco. III. Byszantinisme 
in La Revue de lart ancien et moderne. 


January 1913. v. XXXIII, p. [29]-38. 


BerueEteE, Aureliano de. Velazquez. London 
[1906 ?]. 


BERUETE y Moret, Aureliano de. El Greco, 

pintor de retratos. [Madrid, 1914?] 
Spanish painting. London, New York 
Pete det Oe ie 


BLAKE, Justin. El Greco, modern old mas- 
ter in International studio. August 1924. 
v. LXXIX, p. 309-318. 


Borenius, Tancred. The Magdalen in The 
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p. 208. 

BoryJA DE SAN RoMAN y _ FERNANDEZ, 

Francisco de. El Greco en Toledo. 

Madrid, 1910. 

Butron, Juan Alfonso. Discursos apologe- 
ticos, en que se defiende la ingenvidad del 
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CALVERT, Albert Frederick, and GALLICHAN, 
Catherine Gasquoine (Hartley) “Mrs. W. 
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Carpbucci, Vincenzio. Didlogos de la pintura. 
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CEAN BERMUDEZ, Juan Agustin. Diccionario. 
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Cote, Timothy. Old Spanish masters. New 


HISPANTO Gholi 
























Peer G RA Por Y¥ 











York, 1907. 

ConsTaABLE, W. G. The new El Greco tin 
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Cortissoz, Royal. Art and common sense. 
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Cossio, Manuel Bartolomé. El Greco. 
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Barcelona [19-]. (El arte en 
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DomenecH, Rafael. La casa del Greco. 
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El Greco en Italia in Sociedad espanola de 
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aoe, p70. 

Exias, F. Sobre el estilo pictorico de “El 
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342. 

Ene. Exposicion de obras del Greco in 
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Fry, Roger Eliot. Some pictures by El 
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GaRNELO, José. Caracteres de la obra pic- 
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panola y americana. April 8th, 1914. afio 














meV vMONOGRAPHS 








; 





































162 EL) Bore 





LVI; p. 222-(225 

Gautier, Théophile. Voyage en Espagne. 
Paris, 1853: 

Grott1, Federigo. Domenico Theotocopulos 
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Goncora y Arcote, Luis de. Obras poéti- 
cas. New. York; 192 gaa 


Hunexer, James Gibbons. Promenades of 
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Jorcz, Ricardo. El Greco in Universidade 
da Coimbra. Revista. December 1912. 
v. I, p. [648]-694. 

Justi, Karl. Los comiensos de El Greco in 
La Espana moderna. November 1914. 
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—— Diego Velasquez and lis tunes. Lon- 
don, 1889. 

—— El Greco en Toledo in La Espana mo- 
derna. November 1914. afio 26, p. [86]- 
108. 

Keurer, Hugo Ludwig. Die kiunst des 
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KNOEDLER AND Company, New York. Cata- 
logue [of] loan exhibition of paintings by 
El Greco and Goya. [New York, 1915] 

Konopy, P. G. Two wnknown pictures by 
El Greco in The Connoisseur. June 1922. 
v. LXIII, p. 95-98. 

Laronp, Paul. La chapelle San José de To- 
léde et ses peintures du Greco in Gazette de 
beaux-arts. November 1906. v. XXXVI, 























HIS’ PAN ] GeisOens. 





MGMerOmRAPEY | 163 





p. [382]-392. 

Domentkos Theotokopuli dit Le Greco oe: 
in Les Arts. October 1906. 5. année, p. 
[1}-32. 

Domenikos Theotokopuli, sculpteur in 
Revue  hispanque. April 1916. v. 
XXXVI, p. [301]-307. 

Etudes et documents sur le Greco. La 
chapelle de ’hépital de Afuera a Toléde in 
Gazette des beaux-arts. December 1907. 
49. année, p. [482]-490. 

Etudes et documents sur le Greco. Le 
“Christ en croix’ de Prades in Gaszette 
des beaux-arts. March 1908. 50. année, 
p. [177]-182. 


Exposition d’ceuvres du Greco a l’Aca- 








dénue San Fernando, a Madrid in Gazette Cee~ 
des beaux-arts. June 1909. 51. année, p. 
[532]-538. 





Le portrait du Docteur Pisa par le 
Greco in Revue hispanique. April 1916. 
v. XXXVI, p. [308]-310. 


LAMPEREZ Y ROMEA, Vicente. Un pro- 
blema: El Greco y la arquwutectura in 
Sociedad  castellana de excursiones. 
ade March 1916. v. VII, p. [337]- 
341. 


LLAcuNo y AmfroLa, Eugenio. Noticias de 
los arquitectos y arquitectura de Espana. 
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Loca, Valerian von. Los comuensos del 
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mee DANO NOG RA PHS ae 


Crater Grate Gr (ik WB) iy 





164 EL Ga RAE 








1 


Los cuadros de la “Hispanic Soctety of 
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Lonpon. New GaAtrery. Exhibition of 
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Lonpon. Roya ACADEMY OF Arts. E-x- 

- hibition of Spanish paintings. London, 
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—— ——lllustrations. [London] 1920-21. 

Loncut, Roberto. Jl soggiorno romano del 
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Sat Lyncu, Hannah. Toledo, London, 1898. 

Maprazo y LOPEZ DE CALLE. Tintoretto y 
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IV, ps [157] sl4e 

Maprazo, Pedro de. Dominico Theotocopuli 
(El Greco) in Almanaque de La Ilustra- 
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e 4 Maprip. Museo NACIONAL DE PINTURA Y 
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HISPANT CN Oi 






































Peete A PSH Y 














Mayer, August Liebmann. Los cuadros del 
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468. 


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— —Pt. 2 in Art in America. October 
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excursiones. Boletin. June 1915. ajfio 
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Moreno Vita, J. El San Mauricio, del 
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New documents concerning El Greco in The 
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Pere vic) NO GRA Pr s pee 




















































166 E Lo Gee 





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mente, sobre nuestro grande arte nacional. 
[Madrid? 19—] 


HISPA NIT GRN og 





S mann ; Por ud ‘ U0. "ere Cel PI 


o~ F eh ae a ee Q&? 
lena. ¢ Cds fom sv, . e re " nae 






Pepe KR A P HY 








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a 

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Peewee ON.O-G RAPHS ea 



















168 | E LL Gakan oa 








Vauvrecy. Vie de Domenico Théotocopul 
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XXVI, p. [229]-240. 

——Uw'opera sconosciuta del Greco in 
L’Arte. January-April 1920. afio XXIII, 
p [70=S A755 

X. La coleccién Nemes in Museum. 1914- 
15. -v. TV, (pei 

ZARCO DEL VALLE, Manuel Remon. Docu- 
mentos de la catedral de Toledo. Madrid, 

1916 2 ve 











HISPANTO io 





Pee Xx 








INDEX 
PAG} 
iemaworattonwaOTethe Magli ic .ce op ec » 
The Adoration of the Shepherds (New York. 
Metropolitante Museum)? 5. 652 cae ek 120-121 


The Adoration of the Shepherds (Toledo. 
Santo Domingo el Antiguo. Attic). 
The Adoration of the Shepherds (Toledo. 

Santo Domingo. el Antiguo. Side altar) 


AGNES ee SaINt. WR EVTeSEMtatiOll, issue cise 
Aoutlarne Diego de. .s ss. 3, SSS ieee 
PAN Dame UCCuaO Lee ieer ai ale oie cece te feiensi cos ee oo, the a's 
Alcantara Bridge, Toledo coisa Coe SE Sore ee 
Alcantara, Knight of. Representation Lae iar 
Alcazar, eee Re Ue ylas: eo 
PMG GEA MMMITTA TIONS Semaye vere fine, oon cae s bs seo eke 
ee eee ns Po vices coca cswe 
Allende-Salazar, Juan, ete edimar nanan emcees 61s 49, 137 
Alte Pinakothek, ee Pease ee cs cca ere 's 














Anastagi, Vincentio. ‘Portrait Heh eencrs Nrodthapene 
Pee Pachonle os ook. vc ea ove sn 
wugeles.- juan .de los; quoted .:.2....:.... 
Pete One ASELGLIOR ATCT clea. ¢ c-ells,iecs + ocuel esis eloits 
STINE MeO Me NTIS LGA racie eit; <.0, 210s. o.ns nie acess Sua 
Nera rete in Cia kiteae steerer pate ees ac eye Gis ae diene boos 
The Annunciation. (Illescas. Nuestra Seiora 

eam MG OF UCLG,) crater wake, wis) oh 6K. 8 aelan ood ie! 
The Annunciation (Madrid. Prado)...... 28-30 
The Annunciation (Villanueva y Geltru. 

NIGCSC OM OO OWET \icisi sere ccs 4 cise Susie a 97-99 
POMPNE UAE SOMME PE REE Aaust cso hai’, Sic eiaueice Se writ. ou US eel 25 
Aragon, Po aMt TG TICUN CCM te te Anca 6, x sia sales gs eeatate. 9 
LOOT OTe MATION NCE. o's) s atvis a ce oc! «dos 9 
Archway of the Blood of Christ, Toledo net 18-19 





eo MONOGRAPHS 




















170 


E L Ge EAaG® 








Aristotle ..-.c5cace anal sna eer renee a3 
Art, Byzantine <1 eee eee 354; S07, OZ 
Art, Italian 2.3 0.ci meee ete ee eee 40, 41 
Art, Veneto-Byzantine 9 o.5 00s hee ea ee a 
The Art. Institutes Chicacomen nee een 27 
Assumption ©) 0). Scnctete sl apeioieeaee en mene emene ZO Teo, 
The Assumpttow eects ie ead eee EA Seeetariok Ais 
Augustine, Saint® socks ae eee 6s 64 

Order Of \..s.. asce See eae 63 

Representations: >... a.1a> ame ore ene ote THE 
Auto-da-f6 0. sssca siete reteset 81 
Avila, Hernando: de. ime eee eee ees 67 


Banegas, Domingo see Venegas, Domingo 





The Baptism” (Madrid. Prado) seen ee 97-98 
The Baptism (Toledo. San Juan Bautista) 115 
Bartolommeo,. Pra 927 ane een 90 
Bassano, Leandro @32e.-- sheen oe reyes IP 
Battle of Saint Ouentiiitesu seer 38 
Bayona de Tajuna see Titulcia (Madrid). 
Church 
Bayonne: Musée Bonnat W245. aces 50 
Beatrice; Infanta-4.5 ci eee ee ee 63 
Benavente, Duke of. Supposed Portrait. 50 
Berenson, Bernhard) =) ciiedasaces tee "90, 139 
Beruete y Moret, Aureliano de, cited 49, 106, 136, 137 
UOTE ices cco vee oe oie een nee oe 16- 17; 52- 54 
Madrid .. 3 y2c-4.s abate cutee eee eee 50 
Bessarione, Cardinalaye Portraits eee 1 
The Betrothal of -thesV wows eee 112 
Bible. N.« Ti Rev. cited see er renee 140 
Quoted — os ie. .5 7 eaieieiene weenie eae ects near eae 125 
Bibliography... io nen eee 159-168 
Blanche of. Castillay eee e eee oe 93 


Borja de San Roman y Fernandez, [Francis- 
co, cited. .24, 25, 60, 115, 131, 132, 138, 140-141 


quoted 2...) cA. ae eee 60, 125, 140-141 
Boston. Museum of? Pinew Arise 3s ee 55 
Boy Lighting a-Candlepnaa ese 10 
Bronzino, Alessandro eee eee Ze 
Browning, Robert. Fra Lippo Lippi, quoted 138 
Bucharest. Pinacotecam a eee ee 85, 112 
The Burial of the Count of Redes 4, 59, 66- 79, 83 
Byzantine antl \2 epee ois 70-71, 82, 98 


HISPA NDGA Oia 

















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iz time pe CHOC ee ieee cis © 6 2 9.00805 4.1054 so eu, 






















Sai pare edrOm CE) peters acne .elacece else eee 4. 0 018 41 
Re aac terete eee eee auee on i eeeee he ironasé ere sities: a0 3) sles os 7, 48 
Meaclyeaycul Smet a UI Sol Contes Srectnts te sec sg sha'e scale 40 
Carlos, Infante Don. Representation...... 42 
Carrenorde, Mararicda’, PUA. lass ci os aie-0 22 124 
USL EG TE COyer DOlEU Om a cca ne Geb eeas 19-20 
Casa-lorres, Marquis of. -Madrid......... 85 
(ASRS 0: 8 coadconsc he ophei tito eae ent ae ae Ne hse ASS RIE 
Aas till james OMe meena Aeigteiee «ee sc 0re e0 24, 25 
TSE e Aeee SUS acl O bum eptteteiseiel«. basic) s.8u8.00.8;6 9 ie, e-8 132 
Castle of San Servando, Toledo .......... 130 
Castle of Sant’Angelo, Rome ............. 11 
Gastromeiapron: Baltasar, de... co ccs0 sue ees 33 
Cathedral vor Saint “Mark. Venice.......... a 
Cean Bermudez, Juan Agustin, cited ..... 96, 137 
Celliminme DCHVENIMLO To. ceed pice fe ce ew ws 11 

ue DIOG HUPW Vm ELCEM ha ieral oi vise sees ele 0.0 3 11 


Cervantes Saavedra, Miguel de .........-. 19, 106 
UUOCSE REET TCU OMGPUCILEC sso \e 0s, oo sie os sie-0 50 


ose eee eee eee eee eee eee esses eeeees 








Chapel of San ey UiGled Op ene sia axe 

OFM Ne eee anetetens ates Gis einincicies ce wee © 112 
pees TEL CMM LOL E MEM Cate cuainc cis c 8% @ < Siecs «cdc 106 
Chesterton, G. K. Lepanto, cited.......... 137 
PURO R UMM eerie Teale, bias as. © 4 4a oe #0 vis 0, 010 37 













80-82, 92, 98, 100, 102, 104, 105, 114, 119- 120 
Christ Bestowing a Blessing pla avas ulece tants 81 
Gigwise moracing. the CrOSsS ..csc.sccevees 81 
Christ Pantokrater. Representation ...... 81 
(Ghurveh ot San. Torcuato, Toledo ........s+ 141 
Church of San Vicente, Toledo ........... 122 
Church of Santo Domingo el Antiguo, Toledo 

 diqete Aer hae ae 24-28, 43, 133, 140,141 
Church of Santo Tomé, Toledo .....63- 65, 77,133 
Church of the Hospital of Nuestra Sefiora de 

lam Caridad. lMWeseds ini. 0%. ce oes 103, 110-112 
Church of the Hospital of San Juan Bautista, 

Mea OMe eee eis 5 os boo hae a ties 114-116 
Churton, Edward, cited .......... aGieteiere 139, 141 












met MUON O.G RACP HS 





EL. Gist oi 








Cincinnato, Romulo 

Citta Vecchia 

Clovio, Julio 

Portrait (lost) 

(Naples. Museo Nazionale) 

Coello, Alonso Sanchez see Sanchez Coello, 
Alonso 

Colegio de Religiosos Calzados de la Orden 

Agustin, Madrid 

Colegio de San Bernardino, 

Compostela see Santiago de Compostela 

Constantinople 

Convent of San Francisco, 

Cook, Sir Frederick. Richmond (Surrey).. 


Coronation of the Virgin  (1llescas. 
Nuestra Seiiora de la Cartdad)....103, 112 
The Coronation of the Virgin (Madrid. 
Prado) 
The Coronation of the Virgin (Toledo. 
José) 
Cossio, Manuel Bartolomé, cited ....27, 28, 36, *39 
91, 94, 97, 100, 1L06 jie, 122, 136, 139, 140 
quoted ..29-30, 91-92, 97-98, 129, 135, 136, 141 
Covarrubias, Antonio de 76 
Covarrubias, Diego de 


, Toledo 
(Madrid. Prado) 
(Paris. Louvre) 
Cruz, Juan de la 
Cuebas, Dofia Gerénima de las 
Cuenca. Cathedral 


Dalton, O. 
quoted 
Dante Alighieri. 


quoted 
The Daughter of El Greco see Porivatt of” 
a Lad 
Deésis 
Diaz, Ramon. 


HISPANIC NO PEs. 








The Dove, Representations of 

The Dream of Philip the Second see Glory 
of Philip the Second 

Dresden. Gemdaldegalerie 


Ejecutorias 
Tel Escorial. Real Monasterio d Sa 
Lorenzo del Escorial ...17, 36-38, 40, 43, 107 

Church 44 
Sacristia 
Salas Capitulares 

Escorial see El Escorial 

Estremadura 

The Expolio 


The Family of El Greco 
Farnese, Cardinal Alessandro....8, 9, 15, 17, oe 


Portrait : 
Farnese Collection, Rome 
Farnese f 


Florence. 

Florentines 

Fra Bartolommeo 

Francis, Saint 
Representations 

Frick Collection, New York 

Fuente, Rodrigo de 


Gabriel, Angel. Representations 
Gate of Visagra, Toledo 
Gaul 
Glory of Philip the Second 
God the Father, Representation of 
Gongora y Argote, Luis de. On the painter, 
El Greco, cited 
quoted 


me EMONOGRAPHS 








E Gene ieee 


Granada, Luis de, cited 
quoted 
Grand Canal, 
El Greco 
Architect ).2.92¢0 e332 ose eee 24-25, 111 
Astigmatism, Theory = oli eee eee Zia 
i 1.7748, 17. 135 


Characteristics 
2, 13, 27, °84-86,7 7°95, 100 jee l Looe. 
Contemporaries .... 20-21, 25, 41, 49, 76, 79, 90 
Death 
Education 
The Expoho quarrel 
Family 
Form of name 


Influence of Byzantine art 
2,.4,. 6, 2,00, 315220, Jano ama 
Influence of Italian art 12) 13 el 7 2-29 
Influence of Spanish mysticism 
5; 6,0 81,, 86, O5euei0 1eeOr i 
3 


Insanity, Theory of 

Inventory of possessions 

Lawsuits 

Learning 

Library 

Manner of living 

Personality 

Pupils 

Sculptor 

Technique .. 1-4, 16, 30 
32, 51-54, 56, 90, 91, 95, 97-98, 108; 130- 131 

Tomb 


ill 
Works, Partial list of 
Guadarrama, Sierra de see Sierra de Gua- 
darrama 
Guevara, Fernando Nifio de. 
Guzman, Dofia Gregoria de 


HISPAN PG Ose 











INDEX 175 

= 

Havemeyer Collection, New York ........ 52 

PHOTO MO |e MSLUIDE ORI 1g B IUCE SIAR ceitiehs 6G. acs eo 6 os, whe 90 

VEC MEL CAV OR Of MELE = VUNG. reese cs sue s\ere ieee sie WZ 

Heinemann Collection, Munich ...... Oh. Shes, a 
lernanideZ ma SeDAStIAN. Gslltelae seis sc «+ 60 sae 

iplSaerda. ; Iitieee: aS = GIs ais Seen cane ee 24, a 
The Hispanic Society of America, New 

Grek ees pee ZeQeoo-90, Oly 62, 87-91, 102 

The Holy IRGSD’ .o Bech AS ORE Ge eee 28 
Holy Family (New York. The Hispanic 

DOCLCLYMOLMEATIOTICay) iis etc. SeG ews eds 91-92 


Holy Family (Toledo. San Juan Bautista) 115 
IBIGERESE » & aio bis Bentree-o tem hae Et Oro rata Cocco 23 
(ONG! a5 daa Bie ier cleat ones os Sc ee 75 

Hospital of Don Joan Tavera see Hospital 

of San Juan Bautista, Toledo 
Hospital of Nuestra Senora de la Caridad, 

DU eeeeh 0S etca Ms alnance: Chara Oe ee Ae eae 111 
Hospital of San Juan Bautista, Toledo....127- ce 
EU liaaatlg GEG Mees seh ASIEN Co ha ai dec hsiicke fol 0. ee 


ilbelervernerey. SEE 5. Soe Sic 3. Acree Ue rea ea an 229 
IRNEMRESCIbALLOUS IM a spats ei aic cles «oie Gs Wg Aalig. WAS 
Tllescas 
Church of the Hospital of Nuestra Senora 
MP= Ua LOCH IANGT OS” = Sitesi Sac eRe LOSs) VOI t2 
Gomvent mol, Naw CL OMCUSCO . hos. tiv cus ee s 111 
Hospital of Nuestra Seiora de la Caridad 111 
MUGUSERC = | TEU ONO per CALE | xin vie Sv alvin we e's 50 
AGREG LOOM eee cesestel cua at iciystis folole sds v Sie eces we Guede rn 21 
Immaculate Conception -.........<e..+4- ES Wee 
The Immaculate Conception (Munich. Heine- 

Haart MMC OLIECEIOIM) Cy .c acs a es os 0 eae 98, 122-124 
The Immaculate Conception (Toledo. San 

VAUGERIGE) Ne eo) c phase Soe va)-o 26-27, 122-123 
MecnGRUIMe CLOVE Mere niter cect Nteia series soens sve see 48, 50, 79-80 
Isabel Clara Eugenia, Infanta. Representa- 

OMEN Taree eateries se o6 Sale ae eae eb te 57 
Isabel of Valois (Isabel of the Peace)...... 42 
Hei icita merct, Lemme rere RE Were t sna 1S Sie <e-ale‘eoe Son ott. kere 40, 41 
Gaius) ts ets Ss ere eoeit0, 17, 23,245. 405,58; 61 
James the Great, Saint. Representa- 

HOMES MEMCP CR Teen Fete tet s cmibutions: ‘cs aronene'ane de 87-88, 103 


moO MONOGRAPHS 





176 





E lL Gt = 














Jerez de la Frontera. “Ramon Diaz. 61 
Jerome, Saint. Representation ........ 15, 88-89 
JESUITS 4 Gis se 6a 3 peepee Oe eee 21, 109-110 
John: of Attstria,” Donia. ener een RY, 
Representatiot 6. coc cre cle eueiesel cee teeten sieie nets 42 
John the Baptist, Saint. Representations 
odin othe, Sep ite eee 69-71,-73;) 743i 2S LOS 
John the Evangelistj;sSamt™..-1 0 een 118, 125 
Representations seem eeeens 29, 100, 103, 116, 126 
Jordan; Esteban % -)2...ccee ete eee 35 
Joseph, Saint’ 2: (ols sen ose 101 
Representations eae eee 92, LOL S102 120) 
Judas: ..Representations ) 34-14.) 119-120 
Julian, Saint. . Representationy se ... ree 94 
Justi; “Karl; cited) 2aae ee eee ee 136 
Quoted |... ss. ce eepe eh vie eee one en eee 9-10 
Kaiserliche Gemdldegalerie, Vienna ........ 12 
Kehrer; Hugo Ludwistccitted sn arene fe) 
Keir (Dumfries). Archibald Stirling- Mesewett 54 
King, Georgiana Goddard, cited .......... 94, 139 
Lafond, Paul, cited aii eee eee 36 
Lake. Geneva... . +i Soccer eee 45 
Lampérez y Romea, Vicente, cited 7....... 25,128 
Landscape of Mount Sinai 62.0. 19 
IGN eleolc) III nr SAG a Sas OSs aue ass 126 
EG@OcO0M. sis eee Pere ea as oS 126-128 
Laocoon.. (Vatican) <2 a aernenteneaeeenenea ee 126 
Last Judgment. ...:cmcseueie ieee nena eee 69-70 
Laurel de Apelo, cited jena ere 41 
Laurence, Day: of Saigituase eerie eee 38 
Leon, Litis dé \..o.:e ee eee 79 
The Ascension, cited (2305-2 138 
Quoted: | o.i 5 ob kcyalee remanent ee 80 
To Felipe Ris, citeda eee 139 
UOTE ane ‘elie nopenteteetie te ne ettelen eee eee ae ane 118 
Leoni; Pompeo 255 ape eee AS tel 
Portrait £2. sss hes ae eee 43 
Levy, Samuel ...5. eye eee 19) 
iano, Teodoro Felipe de. Portrait of the 
Infanta Isabel Clara Eugenie 2. eee SF 
Libro) de entierros, cited seas TSS 


HISPANT@ NiO 








Llaguno y Amirola, Eugenio, cited 
quoted 

Loga, Valerian von, cited 

London 
National Gallery 
Sir John Stirling- Maxwell, Bart 
Lord Yarborough 

Lopez, Juan 

Lorenzana, Cardinal, cited 

Louis, Saint. Representations 


Beyakial” x aed 3-4 gn alee ash, Bey oe See ee ee aS 
Aureliano de Beruete v Moret 
Marquis of Casa-Torres 
Colegio de Religiosos Calzados de la Orden 
de San Agustin 
Museo del Prado 
eo ace ae One 7a Ol, 97, F125 121, 127 
Malta, Siege of 14 
Mantegna, Andrea. The Prayer in 


Pope. Portrait 

Mariana, Juan de 
Marti y Monso, José, cited 

quoted 
Martin, Saint. Representation 
Martinez, José, cited 

quoted 
Martinez de Castafieda, Diego 
Mary Magdalene, Saint. Representations 


Mary Tudor see Tudor, Mary 

Maurice, Saint 
Representations 

Mélida, José Ramon, 

Melozzo da Forli 

Merlo, Giraldo de 

Metropolitan Museum of Art, New York 

Michael, Saint. Representation 7A 

Michael Angelo Buonarroti..12, 23, 35, 41, 95, 96 
The Entombment 29 





meee O NO G:R AP HS 





oA) 


E LGR 





Monegro, Juan “Bautista de fee eee 25, 43 
Monreale. Cathedral Sa ncoe ee etait TE 30 
Montoya,. Alejo dé= inc ci cise Re ee 33 
Morales, Dona Aljfonsa ide slosia- teers 60, 140 
Morales, Juuts de) iss. cere ee 40 
Moro, ‘Antonio. <5 oceeccce cee tie cient etna ene 42 
Mosaics, ' Byzantine! 24... 2. eee ete Con mo omce 


Mount Sinai see Landscape of Mount Sinai 
Munich 
Alte Pinakothele 2.5 ase see eee 50 
Heinemann Collection) )-3, 5 eee Oh Se onl Wa eS} 
Mufioz de Madrid, Andrés see Nunez de 
Madrid, Andrés 


Murillo, Bartolomé stebanmece eee 104, 123, 124 
Musée Bonnat, Bayonnetsos eee eee 50 
Musée National du Louvre, Paris..... 82, 92, 100 
Museo Balaguer, Villanueva y Geltrui...... o7 
Museo del Greco, TVoaled0s...0 07h 110 
Museo del Prado, Madnds..- 2) eee 
.+.27, 28, 48; 495 56.057.) 61-8 OF elie eels, 
Museo Nazionale, Naples) a.q seer 10 
Museo Prowncial, Sevillay eee 52 
Museum of Fine Arts, (Bostons. eee 55 


Mysticism, Spanish 752555 16.07 ose O lemeti2 Oemelices 


Naples. . Museo Nazitondle soe ee 10 
National Gallery Londons ene 135-86, dissed a9 
The Nativity -.. 22 ee hi 
Neptune _ snes 2 pean alec cent aoe ee eee 127 
Netherlands, Schoollofe thes ..aseh eee SoU 
New York 
Frick : Collection 32200 eee 133143216 
Havemeyer Collectionica.. » sane eee 52 
The Hispanic Society of America ........ 
soileieds se Sn Ce 28, 55-56), Gls 0 2sare 720 ee 
Metropolitan Museum of) Arte) sees 120 
Nifio de Guevara, Fernando. Portrait ......52-54 
Notes. ois, sco 0 ow abe, Hien ne wee T3547 


HIS PA Np GSS Ne 








ito, Ugg ASS Sa 


179 





OrdcraOte samt ee NUOUSHIME! jew acest wwe 63 
rder of Shod Carmelite Nuns ............ 101 
Order ol Suod) Lramitarians: 2.02... .. 5 04s 55 
OG Shwe 6 esto R nucle ORONO letnG Ulin ae ncn ne 65 


rgaz, Count of see Ruiz de Toledo, Gonzalo, 
Count of Orgaz 


PS ie SS 0) ee ee re 10 
BACHE COMM ANICISCON insite sete toi cleus 6 2 niin oye 130 
Arte de la pintura, cited ........ 130, 136, 140 
COLO tes vices ciewa pss se swe 6 6 Boia dig 
Palaces, Veneto-Byzantine ..........---+-- 4 
Balemctqumeteathedtalueansrm ati. es cross 2 sb ets 84 
Coders.” = & dos een ohgea Be ten Guo © Le Ae Oo ee 127 
Palomino de Castro y Velasco, Aciscle 
PAGE CHU OM CUUCC metctelate sisi aiaiere aie. shel eel > ia, 
Patonamder lane Mam fe cee eo cree Ae, Sy] 


[Paravicino y Arteaga, Hortensio Félix. Al 
mismo Griego en vn retrato que Iizo 


ae Mingo, CHS cooks aoe Gea Omer om 55 
Rit Ee om iiace Risla oe c ctace oe sep ns 137-138 
TRYOGEREEEE Sug a pene oanenane cece Oat aC a Be 
Sonnet on the tomb of the painter who 
was El Greco of Toledo, cited ....... 139 
ete eM oe eine ese simichs woe vis 2 slo nisin e 117 
Preme gaa PUA ME. wie ce et te eee ee ees 62 
Paris. Musée National du Louvre ...82, 92, 100 
SCO CON SUEG ae OLEGON iste «vcs alle eo 19 
eM RAS STON Rice rsnnclie aisis)eicue sie /aits eieseia iss Bie 
atneiree, IDO noe oon a0 2OUo OO oom 111 
UGS AAG Ost Se Sir ea ae 108 
eatiee He anitd= OMes wiscire ss... .ee cee +s ily 
E\STeVRSCUISS 4G oyieeeneuo co Gactonnad Clo en One no RCE RG enORSE ECR 118 
MM CMETILOCO SH Neue rotate ce reel lictio) Sick Sela esate: x03 121-122 
Peter. saint. Representations ..........-- 73, 84 
Hemet em GitiGlise cists © sainieis on liaa se cos mee a 19 
Eee AUTIO MMMM O I SENSE er cpa ec < tow sce = oleic: ein ite © 'etinle Pa 
Philadelphia. Widener Collection ....... LOS, 05 
Papeete  OCCONC wake eee ee eo 
eee 17, 36-40, 42-45, 48, 49, 78, 107, 109-110 
Wenrecentatiom “OL) wi... 6 eee eee ees 108 
act Me ree rag rena s Gicvnic.a se Wier bs eva evens 40 
WOH) 4G Boek Epc ee I eo Oe One De re 28-30 
Pipe ortors Portrait... e ste ee eee Ss 











Serer) N OGRA PHS 





180 





IY i Gee aa) 

















Pisa, Francisco, cited 2s seine 136 
quoted. .4 ssc genie a .oeieie el cual eee 21 
Pisa. Campo Santo. ossce cn eee a 
Plutarch | :...f2.s ates ene ole cen eres eee eee 23 
Ponz, Antonio, cited ce =e eects nen eee a ant 
Portravt of -a° Doctor wee) eee 49 
Portrait: of a) Lady a see eee 16-17, 59 

Portrait of a Man _ (Caballero de la Mano 
al Pecho).. aioe ae 48-49 
Portrait of a Young Man in a Red Biretta ib 
Portrait of an “Artist have cee eee 52 
Portrait of an Old Mane see one 50-51 
Portrait of Cardinal Alessandro Tarnese .. Til 
Portrait of Cardinal Bessarione ......... 11 
Portrait of Cardinal Gaspar de Quiroga ... 50 
Portrait of Cardinal >) avera eee en 145 
Portratt. of Doctor Rist pero 55 
Portrait of Fernando Nino de Guevara.... 52-54 

Portrait of Fray Hortensio Félix Paravicino 
y Arteaga. cons aie cae eee 55 


Portrait of Julidn Romero see Supposed 
Portrait of Julidn Romero 


Portrait of Julio Clowio Gosh) ene 11 
Portrait of Julio Clovio (Naples. Museo 
Nazionale)” “Sea. Soe ae 10 
Portrait of Pompeo “Leonie eee 43 
Portratt of Pope Marcello... eee 11 
Portrait of S. Angelo [Cardinal Farnesio 
Ranuccio] (2.0 tise ene ae eee 11 
Portratt of thevAritsiy a. ae 8,0) 5235 


Portrait of the Daughter of El Greco see 
Portrait of a Lady 

Portrait of the Duke of Benavente, see Sup- 
posed Portrait of the Duke of Benavente 


Portrait of the Lady of the Flower...... 54 
Portrait of Vancentio\ Anastagie eee 14-15 
Posada de la Sangre, VoledG eee ee 195 °21 
Prado, Blas de [er2ee eee 40, 67 
The Prayer in the Garden. ©. «ss eee 118-120 
Preboste, ‘Francisco, jones eee 61-62 


The Virgin with the Crystal Dish (Attri- 

buted) .  schicceteversesccete ee pare ene ee 
Primitives; Spanishiyecs cae eee Zila Wee 

Ai Love see The Opening of the Fifth 


1 
The Purification of the Temple (London. 


HISPANIC Ge 








National Gallery) 
The Purification of the Temple (London. 
‘ Lord Yarborough) 13 
The Purification of the Temple (New York. 
Frick Collection) 13 
The Purification of the Temple (Richmond. 
Sir Frederick Cook) gel 


Quentin, Battle of Saint 
Quevedo y Villegas, Francisco Gomez de, 
quoted 
Quiroga, Cardinal Gaspar de 
Portrait 
Quixote, Don 


abula see Syriac Gospel of Rabula 
Ramirez, Martin 


Disputa 

Renaissance 5 
The Resurrection (Madrid. Prado) 97, 99-100, 127 
The Resurrection (Toledo. Santo Domingo 

el Antiguo) 
Ribera, José. The Trinity 
Richmond (Surrey). Sir Frederick Cook.... 
Rizo Calandil, Miguel 


AQ ee 419-53, 

Castle of Sant’ Angelo 

Farnese Collection 

Farnese Palace Sha WL, ONG, SIS) 

Vatican 126 
Romero, Julian 

Supposed Portrait 
Ruiz de Toledo, Gonzalo, Count of Orgaz 


Peo MON O-G RAP AS 








EL Gah ee 











S., Ji Aj; cited) 55 cui ct > ree ieee 136 
quoted — x. 5 sis. eam Hace o> al mee ee 10-11 
Saint Angelo. Portrait) seen eee me 
Saint Benedict “ieee 2 eee 28 
Saint Bernard ~~. seen senses ease gan eee 28 
Saint Bernardino of Siena .......--++++---- 110 
Saint Dominic Sine oo ee ee ih 
Saint Eugene see Saint Ildefonso 
Saint Franct§ se ian ae ee eee 115 
Saint Ildefonso 225 were sensing te et eee 84 
Saint Ildefonso Writing, oro se ee eee 112-114 
Saint James the Great (New York. The 
Hispanic Society of America) ........ 


Saint James the Great (full-length) (New 
York. The Hispanic Society of 
America) ©. scsi) ome once eens 87-88, 102 

Saint Jerome (New York. Frick Collection) 15: 16 

Saint Jerome (New York. The Hispanic So- 


ciety. of America) Sig forme e steer 88-89 
Saint John of Jerusalem, Knights of...... 14 
Saint John the Baptis™ ©). eee ee a7 
Saint John the Evangelist 723-1 eenae 27 
Saint Joseph 2s vices ase ee eee 102 
Saint DLaurence’s —) Daye aacute iene een 38 
Saint: Louis sei tb eee pede ee ee 92-93 
Saint Martin and the Beggar ........ 59, 105- ee 
Saint Mary Magdalene sae. rete 
Saint - Maurice eee 31, 45-48, 91, 106- 107 
Saint Peter. —. o. é occ edrene se eee ee eee 
Saint Quentin, Battles ot sc. eee 3 
Saint Sebastian (Bucharest. Pinacoteca)... 85 
Saint Sebastian (Madrid. Marquis of Casa- 

TOTres) ss qcel etd eecliene ne eney cates slots remem 85, 86 
Saint Sebastian (Palencia. Cathedral)...... 84-85 
San Servando, Castle of. Toledo .......... 130 
Sanchez Canton, Francisco Javier, cited ... 49 
Sanchez Coello, Allomso serine ses oats ee Sy! 
Sancho the Brave) eect een 63 
Sandoval y Rojas, Cardinal’ quoted =). mu. sane 35-36 
Sant’ Angelo, Castle of. Rome’ {..4 2 ee ‘i 
Santa Maria la Blanca, Toledo ............ 22 
Santiago, Knight of. Representation ...... 93 
Santiago. de Compostela siren eee 88 
Santos, Francisco, Cited mci taennieneens 107, 139 

Guoted 2... Sule svidieleue elelte ee peten teenie eee ie renee 107-108 
Sebastian, Saint. Representations ........ 84-86 


HIS PA NiPGsSieG ries 





ben ost Xx 





Sentenach y Cabafias, Narciso, cited ...... GMS, a US W/ 
ICES REO | a5 5 eee gen Pe Ca a ee Re a, Silay 
SiGROUUE “Ss wee Son 0 Be ley cnc eae eee 41 
WAGUSE Om OULITGLGE. Uo) sitvain sou sediee ei + wins 90s wi eae pi 
Shod Cartielite Nuns, Order of .........%. 101 
Shodm@irinmitariams, “Order Of... <5. %. «ss os 55 
Serta Wah VE a8 reer a ee Se ne ee 14 
er rauecleorn Glad DEnatitaiatee a ceiele.s alee le lcis a) «vel a < SN Site 
Sigttenza, José de. Historia de la Orden de 
San Geronimo, cited ...... 38, 44, 106-107, 137 
COCCI MEN wertrne abt ciara Giaiete sats se ete. s owWiacs 45 
Sugg DIST. UE pry Tc Ceca eae eR ee 24 
Sinai, Mount see Landscape of Mount Sinai 
SX CUS mete ETE Hine Wo OMEm catsctyshece: «scene, « or sieves O7sae si. 
Society of Jesus see Jesuits 
SSTUIGY > a.00ct GH RNSRHONE ©)-o1G.0, CICERO RRC A eNO Ree? rar ie 
SO eliiaeeo 26, 5, 04,279, 80, 875-90, 106, 124 
DS pamishensCHOOliy saison cree elke wis a ala oe ce G 40-42, 130 
Pi eticesGr, Lraliat yattege ce ote siete areiee eels ei 40, 41 
Influence of the School of the Netherlands 
ce Pe dy cee cS oie Sada , 41 
Ree MRM ETE eel nia cine easie Sesee lane sve ¢suvce alates 63, 64 
lenresentationsia crest. cise cals. eisls3s ssa sas ee IG 
Stirling-Maxwell, Archibald. Keir (Dum- 
SUED), |S a he AES ee 54 
Stirling-Maxwell, Sir John, Bart. London..16, 59 
Supposed Portrait of Julian Romero........ 93-94 


Supposed Portrait of the Duke of Benavente 50 
Syriac Gospel of Rabula. The Pentecost. .121-122 


CLE G ye eae oe One ee aoe eee Sel Ole 2 2 et 28 SO 
TAGS A Ste ca Gee One 1c ata nN On RE COC a ae 23 
PAOD hy CICER) ee ec te eee seas 106, 139 
avera, Cardinal. Portrait ........... weaa 185 
The Tears of Saint Peter (London. National 
ALLS tay MMA oneee ercreig eee toe. oi oo, oraiel de) s aisle re 


The Tears of Saint Peter (Toledo. Church of 5 
the Hospital of San Juan Bautista) .... als 
heban legion, Legend of Saint Maurice 


MATRA es cats, ok akd sau ae vido Sl wigs Vg 45-46 
feotocopul, Claudia. .....000s.- sree een 61 
heotocdpuli, Doménico see El Greco 
HeotecOpuli, Gabriel 2... 2.5602 ces eee cine ns 60 
heotocopuli, Jorge... .6 21 ceccs en cecece 61 


moe MONOGRAPHS 





183 



































E LY G@ Rabe 
Theotocopult; Jorze” Manvela-=as) eee 
Bes tehe Fak 25, 52, 59-61,.66, lI4 015, bode oo 
The Burial of the Count of Orgaz ...... 6 
The  Expolto 4ow.s 2 os ne eee 61 
The Holy Face (Attributed ite eee iene 114 
Jesus in the House of Simon (Attributed) 
(New York. The Hispanic Society of 
Ameria) ~4./2)s:sjeauensiel weeeokcn cies nee eae 
Jesus in the House of Simon (Attributed) 
(Titulcia; ‘Church)2 oy .-aaclee e 
The Purification of the Temple (Attri- 
leyehi= 0 MMPI eA CA Ge ea omm sb acs 
Saint Mary Magdalene (Attributed)..... 114 
Theotocopult, Maria) 5.2 aces enka 61 
Theresa,: Saint 23 -eeeeeeeee (049-20 Lavo 
Tintoretto......... 2. cae eee eee 8. Fess 6 
The Assumption oes ee 26 
Thomas, Day of )Sainta.. 2 65 
Thomas, Saint. Representation s-mei tres 16) 
Titian «ai iisiss <p ele eae eee eee So 10) 40% 455 
The Assumption Wee. ee eee 26 
Glory. 6s 1S hese 106 
Portrait of Strada) a 2 ) 
Titulcia (Madrid)= “Ghourchae eee 114 
Toledans ~~... a:.'s. cceceeteteeue oie cece ee 






ee 















80, 84, 102, 103, 
Alcantara Br idge <-oire Op satin Siete lech OR Sae Reena 128 
Alcazar (i...) ele eee eee 18, 128, 130 
(Archbishopric) Council of the Govern- 

MEN oi sw ale wine seer oe ne 65, 67 
Archway of the Blood of Christ ......... 18-19 





Casa de Ayuntamiento eee 61 
Casa del -GrecOa see 19-20 
Castle of San. Servandow.. 1.2 ssn eee 130 
Cathedralgee ee 18,20; 22, 30) 36,61 ebage ay 













Capilla Mosérabé. .:¢250-dn eee 

Chapter’: . 2.0). 25 clea cite ete 33-35, 1 
Chapel. of “San? vicseae ante eee 91, 100-105 
Church: of San Tiorenateur a ee 141 
Church. of “San Vicentes= eee 122 
Church of Santo Domingo el Antiguo . 





vi. oid ee 24-28, 43, 133, 140, 141 
2c ieee a 63-6307 7 01ae 






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Church of the Hospital of San Juan Bau- 


bUStaeeo eee ME ap ee yer cin tere cu cuah erste) <) aie ar de-s 114-116 
Colegio de San Bernardino ............. 110 
ert SLOMOC ILO eS tiers ete ar, eles es s,s 6 se 22 
Grateqo ty ISAOTA bres ti asta os chcscsiactie soso. a7 WS, 


Hospital of Don Joan Tavera see Hospital 
of San Juan Bautista, Toledo 


Hospital of San Juan Bautista........ 127-129 
Monastery of San Pedro Maéartir........ 132 
VIBES COMET SF OCO erate re crciete olerslie 872 918 al s.N esis 110 
PT SCOMMUC UT IDSLEO, Merete) saa iy aitleals ce 19 
TAOS MOUSEO CMOS ANOLE Sie cleide ole cls oie siniale 5 Mop, al 
DICE Gm OTIG TIO DIGMCE oases sale selva os 22 
CIMINO Mm trier La cine eiavs o's ieee ve aa ew ces 36 
Benigno de la Vega-Inclan y Flaquer, 
Marquis) of) Vera-Inclan ia. .).. 66s bss 55 
OLDE OU CIE eee. Cette ative es: ia. sates aa S aos 18 
POICAOC THEO MS LOVIN to kitse cs bat Sis bo wars ms 129-130 
SETS EERO, VS 2e Grass 8 BR OREO CR eee Ope S30) 
Reet, ETDS ak ose Qe eS eee 62 
TSN Oe toh ARO 0 ar ore oe ee RC oe eae 71 
slic vemenPE Nest ite ete s/o ee elena s palere dace oc TA? 
ORM aT Vamrren Etter a etesi die hes eres sas sea eee 43 
VED LESCULA GON ama te lcetrare es ae asec ss enema ss 42 
We Oem A pREIOI NIE VIRS oy a a cles 's Gla 6 aleve oes 1c 
The Annunciation (Attributed) ......... 15 
Unamuno y Jugo, Miguel de, cited....5, 135, 138 
COE nog Signin echo Hee Ie eee 5, 74-76 
MOR CEOLAUIUAN 4a cess cc de ws cae dace 124 
OE STIES  S Saa ls ts a i rr 79 
Vargas, Luis de. The Genealogy of Christ.. 41 
ESI ee ed conc sss whva cia gaia 23 
TUE 2 CALS er 1257139 
OGLE Scaliteenion Av. SSS ane 95-96 
SEED Ba SNORT 0s 5 se 126 
Vega, Pedro de la. Flos sanctorvm, cited.. 139 
ie ee a evel ed > ss mah siecs 25-4 ale tS 112-113 
Mesa Carpio, Lope Félix de ..........6.. 20 
Poierl de ADold. Cited «2... esc sn eve has 41 
Por la puente, Juana, cited ............. 136 


AND MONOGRAPHS 








185 








i, Lo GR 


Vega-Inclan y  Flaquer, Benigno 
Marquis of Vega-Inclan 
Toledo 
Velasco, Luis de 
Velazquez, Diego Rodriguez de Silva y 
The Coronation of the Virgin 
Portrait of Pope Innocent the Tenth.... 
The Surrender of Breda 
Venegas, Domingo 
Venetian School 
2.8; 125 13s aeons ee 
aes 26, 40, ai. ee 
Cathedral of Saint Mark 
Grand Canal 
Venturi, Lionello, cited 
Vergara, Nicolas de 
Veronese 
Veronica 
Via Crucis 
Vienna. Kaiserliche Gemaldegalerie 
View and Plan of Toledo 
Vinci, Leonardo da 
Villanueva y Geltru. J/useo Balaguer.. rf 
Virgin, Representations of the 
6-30, 35, 40, 69-71, 73. 74, 92,00" 
104, 105, 112 114, 116, 120- 124, 128, 129 
Virgin Giving the Chasuble to Saint Ilde- 
fonso 35-36 
The Virgin with Saint Agnes and Another 
91, 103-105 


Walsh, Thomas, cited 
Widener Collection, Philadelphia 


Yarborough, Lord. London .... 


Zocodover, Toledo 


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